Buzz Henry Movies

Mackenna's Gold is a colorful, action-packed western feature with an all-star cast. Mackenna (Gregory Peck) has committed to memory the map that leads to some hidden Apache gold. The Indians now want the gold to finance their fight against the white men who invade their territory. Mexican bandit Colorado (Omar Sharif) wants the gold for himself, and the local preacher (Raymond Massey) and the editor of the newspaper (Lee J. Cobb) also get gold fever. Burgess Meredith plays the storekeeper and Edward G. Robinson is long-time town resident Old Adams. Everyone goes looking for the hidden treasure as the Indians dwindle their numbers with violent attacks. The search is monitored by U.S. calvary Sergeant Tibbs (Telly Savalas). Colorado captures Mackenna to lead him to the gold as death comes to those who show the most avarice. Music is provided by Quincy Jones. ~ Dan Pavlides, All Movie Guide

Having struck pay dirt with his 1958 western Rio Bravo, Howard Hawks more or less remade the picture twice in the 1960s. The first of these rehashes was El Dorado, with Rio Bravo star John Wayne back for more. Wayne plays a gunfighter who rides into El Dorado to link up with his old pal, sheriff Robert Mitchum ("It's the big one with the big two!" declared the film's advertisements). Wayne has turned down a job with evil land baron Ed Asner, who'd hoped to drive a family off the land that he needed for its water. That family, headed by R.G. Armstrong, is convinced that Wayne is working with Asner; when Armstrong's son Johnny Crawford dies, Wayne is held responsible, earning him a bullet in the spine from Crawford's sister Michele Carey. A year passes: Wayne returns to El Dorado, in the company of his new saddle pal James Caan. They find that Asner is still up to his old tricks, and that Mitchum has descended into alcoholism. Several plot twists and power shifts ensue, leading to the slam-bang climax, with the partially paralyzed Wayne, the newly crippled Mitchum (on crutches), and the concussion-suffering Caan battling together to stave off Asner's minions. The final long-shot, of Wayne and Mitchum limping off together arm-in-arm, is one of the most enduring images in the entire Hawks canon. If they loved it twice they'll love it thrice: in 1969, John Wayne and Howard Hawks teamed up for a third Rio Bravo derivation, Rio Lobo--which, like the first two films, was scripted by Leigh Brackett. Incidentally, that's famed artist Olaf Weighorst (whose paintings appear in the title sequence) in a cameo as the gunsmith. ~ Hal Erickson, All Movie Guide

Frank Sinatra brings a sneering Rat Pack ethos to his first hard-boiled detective role in Tony Rome. Tony is an ex-cop who lives on a houseboat off Miami, accepting fees for private-eye work. His former partner, Ralph Turpin (Robert J. Wilke), asks Tony for help in locating Diana Pines (Sue Lyon), the daughter of rich construction magnate Rudolph Kosterman (Simon Oakland). Tony finds her unconscious and drunk in a sleazy motel room and returns her to her home. Rudolph decides to hire Tony in order to find out why his daughter is behaving so erratically. In the meantime, Diana's stepmother, Rita (Gena Rowlands), also offers Tony money to inform her first about whatever Tony finds out. He discovers that Diana has lost an expensive diamond pin, but before he can act upon the information, he is beaten up by two goons and nearly killed by Diana's crazy step-uncle. Tony then finds out that Turpin has been murdered. With help from sultry and sexy divorcée Ann Archer (Jill St. John), Tony discovers that Diana has been funneling large sums of money to her alcoholic mother, Lorna (Jeanne Cooper), with Rita's priceless jewelry being replaced by fakes. A collection of disagreeable human sludge all take their turns trying to get Tony and the information that he holds -- including his old pal Lieutenant Santini (Richard Conte). After a murder attempt on Rudolph's life, Tony uncovers a series of vile connections involving blackmail, deceit, and betrayal. ~ Paul Brenner, All Movie Guide

The year is 1863. Wealthy Virginia landowner Charlie Anderson (James Stewart), a man of peace despite his autocratic behavior, steadfastly refuses to take sides in the Civil War. Bit by bit, Anderson's isolationism--and his way of living--is torn apart.
Charlie's daughter, Jannie Anderson (Rosemary Forsyth) falls in love with Confederate soldier Sam (Doug McClure). His youngest son, Boy Anderson (Philip Alford) is captured by the Confederate army and taken prisoner. Meanwhile, another son, James (Patrick Wayne) and his wife, Ann (Katherine Ross), are murdered by looters. And his oldest son, Jacob Glenn Corbett, is accidentally killed. How all of these personal tragedies culminate in a successfully sentimental finale is the peculiar charm of Shenandoah, which proved to be a hit with audiences on both sides of the Mason-Dixon line. James Lee Barrett's screenplay was later adapted into a successful Broadway musical, starring Northern Exposure's John Cullum in the Stewart role. ~ Hal Erickson, All Movie Guide

For a family picture, not to mention a story that later became the old-fashioned-values-affirming series The Waltons, Spencer's Mountain sure has a lot in it about sex. Henry Fonda gives an interesting portrayal in one of his more unusual roles, as Clay Spencer, the hard-drinkin', hard-livin', hard lovin', hard-cussin' patriarch of a fiercely independent Wyoming family living in the Grand Tetons. When he's not resisting the encroachment of organized religion on his daily life (he believes in God, but doesn't want others to tell him how to do that, or how to show respect to the Lord), he's busy trying to finish the house he promised his wife (Maureen O'Hara) to house their constantly growing brood, and trying to help his eldest son, Clayboy (James MacArthur) -- who's going to be the first Spencer to get past high school -- prepare for college and manhood, while temptation in the form of Claris Coleman (Mimsy Farmer) and Minnie-Cora Cook Kathy Bennett comes his way. There's also a good bit of human drama here, and some especially finely nuanced performances by Donald Crisp and Lillian Bronson, as Fonda's aging parents. Between their work, the CinemaScope photography, the gorgeous Wyoming locations, and a good basic story, this is a surprisingly engrossing comedy-drama of a kind that probably could not be made today, even with a top-name cast. ~ Bruce Eder, All Movie Guide

Even with the guiding hand of talented action director Paul Wendkos, and good performances by the cast, this routine western unconvincingly tries to develop complex relationships in a 24-hour period. Mark Riley (Fred MacMurray) is in the middle of robbing a bank when his younger brother guns his way into the scene to stop him. In the process, he kills a deputy and is killed himself, while Mark takes off to save his own skin. He is now accused of the murder. Holing up in another town where he is a stranger, Mark falls in love with the sheriff's sister. Then he really gets into trouble when he decides to save the sheriff from imminent death -- he himself is caught out and captured. There is some hope for him because the sheriff he just rescued happens to be a lawyer. What a difference a day makes. ~ Eleanor Mannikka, All Movie Guide

The Sheepman was touted as a comedy by some of MGM's publicity people. It really isn't, but this western does have its lighthearted moments. Glenn Ford stars as a hard-bitten sheep farmer, running up against the opposition of cattle ranchers. Shirley MacLaine is a no-nonsense frontier girl who becomes the bone of contention between Ford and cattle baron Leslie Nielsen. Ford is able to get a leg-up in the community by humiliating Nielsen's top gun (Mickey Shaughnessy) in public. The range war comes to an end when Ford and Nielsen go one-to-one. Because The Sheepman didn't do well in its initial engagements, MGM reissued the picture under the more aggressive title The Stranger With a Gun. ~ Hal Erickson, All Movie Guide

In this western, a circuit rider endeavors to warn the cavalry after he sees masked men cruelly abusing an Indian band. En route, the brave rider is shot and left to die. Fortunately, a gunfighter comes upon him and saves his life. ~ Sandra Brennan, All Movie Guide

The Indian Fighter is trail guide Kirk Douglas, who agrees to shepherd a wagon train through Sioux territory. Douglas tries to convince the Sioux to leave his charges alone, but such hotheads as drunken white trader Walter Matthau and embittered Indian brave Harry Landers escalate the tensions. Douglas is forced to go "mano y mano" with Landers; Douglas wins, but refuses to kill Landers, having lost his taste for killing. But when Matthau and his partner Lon Chaney Jr. contrive to rob the Indians of their gold, Sioux chief Eduard Franz prepares to wipe out the settlers. Only when Douglas risks life and limb to bring Matthau and Chaney Jr. to justice does Franz relent. Somehow, Kirk Douglas manages to link up with two leading ladies in The Indian Fighter: his Italian "discovery" Elsa Martinelli and his own ex-wife Diana Douglas (wouldn't you liked to have been a fly on the wall at that casting call?) The first film assembled by Douglas' own Bryna Productions, The Indian Fighter is a particular treat when seen in color; incredibly, its first network telecast in 1962 was in black and white. ~ Hal Erickson, All Movie Guide

Based on a novel by Gwen Bristow, Jubilee Trail is a sprawling, all-star western from the Republic Studio mills. Despite is vaunted budget, the plot is strictly B-picture material. Ambitious California landowner Charles Hale (Ray Middleton) hopes to add to his riches by marrying off his brother Oliver (John Russell) to a wealthy Spanish family. But when Oliver weds a gal named Garnet (Joan Leslie) instead, Charles vows revenge against the new bride. Later, Oliver is killed, leaving Garnet to raise their baby alone. Charles intends to claim the baby for himself, but Garnet, who has subsequently fallen in love with John Ives (Forrest Tucker), isn't about to let that happen. Top-billed Vera Ralston plays saloon-hall chirp Florinda, a Woman With a Past who is peripherally involved in the plot proper, while Richard Webb, TV's "Captain Midnight", fills the obligatory "disgruntled suitor" role. The film is stolen hands down by Pat O'Brien as a drunken doctor who serves as last-minute problem-solver. ~ Hal Erickson, All Movie Guide

Last of the Pony Riders was also the last theatrical starring feature of singing cowboy Gene Autry. This time, Autry plays a troubleshooter for the Pony Express who hopes to keep the West safe for the mail riders so that a new stagecoach line can be established. He is opposed by crooked banker Clyde Vesey (Howard Wright), who wants to land the mail franchise himself and isn't above murder to accomplish his goals. Vesey enlists the aid of a band of outlaws who disguise themselves as Indians while wreaking havoc on the mail service. Featured in the cast as one of the pony riders is Dick Jones, who starred in such Autry-produced TV shows as Range Rider and Buffalo Bill Jr. While not Gene Autry's best film, Last of the Pony Riders is an immensely satisfying ride into the sunset for this personable western hero. ~ Hal Erickson, All Movie Guide

Roy Rogers and Trigger, "The Smartest Horse in the Movies," enjoy above-the-title billing in Heart of the Rockies. This time, Rogers (playing himself) is pitted against Andrew Willard, a crooked but very powerful landowner, played with relish by Ralph Morgan. Opposing the construction of a new highway, Willard dispatches his toughest henchmen, headed by Devery (Fred Graham, one of Hollywood's top stunt men), to prevent the road workers from completing their job. When not duking it out with Devery and his pals, Rogers is kept busy trying to rehabilitate a gang of tough street kids. Penny Edwards plays the heroine, who happens to be the niece of the head villain. The musical portion of the program is provided by the golden-throated Mr. Rogers, together with Foy Willing and the Riders of the Purple Sage. ~ Hal Erickson, All Movie Guide

As indicated by its title, Blue Grass of Kentucky is a horse-racing opus. Bill Williams plays Lin McIvor, the owner of a horse named Blue Grass. He doesn't know it, but the horse was sired by a Kentucky Derby winner, owned by Armistead (Russell Hicks). The aristocratic Armistead had previously refused to mate his prize horse with McIvor's best mare, but the union was orchestrated in secret by Armistead's sympathetic daughter Pat (Jane Nigh). Highlighted by actual scenes from the annual Derby at Churchill Downs, Blue Grass of Kentucky was pleasingly lensed in Cinecolor. The film is ample proof that prolific "B"-flick director William "One Take" Beaudine was capable of turning out first-rate work. ~ Hal Erickson, All Movie Guide