Chill Wills Movies

Produced and written by Dwight Brooks, Poco is a rank imitation of those Sunn International "four-waller" family flicks. Poco the dog is separated from his owner, a cute little crippled girl, in an auto accident. The faithful mutt treks across the desert, experiencing several moderately exciting adventures while searching for his mistress. Along the way, veteran character actor Chill Wills shows up, shamelessly slobbering his way through the requisite "goldhearted prospector" schtick. With Wills' aid, Poco is finally reunited with the little girl. ~ Hal Erickson, Rovi

A former friend betrays a legendary outlaw in Sam Peckinpah's final Western. Holed up in Fort Sumner with his gang between cattle rustlings, Billy the Kid (Kris Kristofferson) ignores the advice of comrade-turned-lawman Pat Garrett (James Coburn) to escape to Mexico, and he winds up in jail in Lincoln, New Mexico. After Billy theatrically escapes, inspiring enigmatic Lincoln resident Alias (Bob Dylan) to join him, the governor (Jason Robards Jr.) and cattle baron Chisum (Barry Sullivan) requisition Garrett to form a posse and hunt him down. Rather than flee to Mexico when he can, Billy heads back to Fort Sumner, meeting his final destiny at the hands of his friend Pat, who, two decades later, is forced to face the consequences of his own Faustian pact with progress. With a script by Rudolph Wurlitzer, Peckinpah uses the historical basis of Billy's death to eulogize the West dreamily yet violently as it is desecrated by corrupt capitalists. Both Pat and Billy know that their time is passing, as surely as Garrett's posse knows that they are participating in a legend. Using familiar Western players like Slim Pickens and Katy Jurado, Peckinpah underscores the West's existence as a media myth, and he even appears himself as a coffin maker. Just as the bloodletting of Peckinpah's earlier The Wild Bunch (1969) invoked the Vietnam War, the casting of Kristofferson and Dylan alluded to the chaotic late '60s/early '70s present; the counterculture has little place in a corporate future. Also like The Wild Bunch, Pat Garrett was truncated by its studio; the cuts did nothing to help its box office. Key scenes, particularly the framing story of Garrett's fate, have since been restored to the home-video version. In this director's cut, Pat Garrett and Billy the Kid stands as one of Peckinpah's most beautiful and complex films, killing the Western myth even as he salutes it. ~ Lucia Bozzola, Rovi

Justice runs red in the deep South in this powerful drama. Steve Mundine (Lee Majors) is a young lawyer who, shortly after marrying his sweetheart Nella (Barbara Hershey), takes a position with a law firm in a small Southern town, run by his uncle Oman Hedgepath (Lee J. Cobb). L.B. Jones (Roscoe Lee Browne) is a well-to-do African-American funeral director who comes to Hedgepath's firm in search of legal representation. Jones wishes to divorce his wife Emma (Lola Falana), but his grounds make the case a hot potato -- Jones has learned Emma has been having an affair with Willie Joe Worth (Anthony Zerbe), a white police officer who is the father of Emma's unborn child. Worth does not want his affair dragged into a court of law, so he and his fellow officer Stanley Bumpas (Arch Johnson) violently take matters into their own hands. The last feature film from legendary Hollywood director William Wyler, The Liberation of L.B. Jones was based on a novel by Jesse Hill Ford. ~ Mark Deming, Rovi

Voodoo, hungry 'gators, and love abound in this Z-grade exploitationer set within the steamy Florida Everglades. There a man tries to save his gal from a rival. ~ Sandra Brennan, Rovi

In this musical aimed at teenagers, Frankie Avalon, and Fabian battle it out for Annette Funicello's affections on the stock car track. The tale begins when smugglers trick Avalon into taking on contraband during a cross-country race. He catches on to their ploy and helps the Feds capture the crooks. ~ Sandra Brennan, Rovi

This comical farce is a lighthearted lampoon of Wall Street and the vibrant trading and selling on the floor of the New York Stock Exchange. Henry Tyroon (James Garner) is the chameleonic broker who changes his colors and ethical standards to fit every deal. Molly (Lee Remick) is the novice trader competing in a largely male profession who catches Henry's eye. Her boss is Bullard Bear (Jim Backus), the slick financial veteran Henry runs up against. Chill Wills, Phil Harris, and Charles Watts are the Texas triumvirate who play their parts of super rich good old boys to the pinnacle of stereotypical eccentricity. John Astin is the vigilant government agent just dying to uncover some dirt and blow the whistle at the slightest hint of impropriety. Louis Nye plays an abstract artist who wishes to expand his stock portfolio. Plenty of jabs are taken at Wall Street, Madison Avenue and idle rich blue bloods at the mercy of unscrupulous opportunists. ~ Dan Pavlides, Rovi

George Washington McLintock (John Wayne) has a saddlebag full of trouble. The owner of the largest ranch in the territory, which also includes a mine and a lumber mill that he built up himself, should be a happy, fulfilled man, but he isn't. His wife, Katherine (Maureen O'Hara), walked out on him two years ago without a word of explanation and has been living back east and running in very fancy circles. He's getting older, a fact of which he's constantly reminded as friends around him decline in health. He's being challenged by their sons, eager to make their mark on the territory, and by the homesteaders who are pouring in with the support of the government, hoping to farm on land that's just barely adequate for cattle to graze on; he's got government officials underfoot, including an inept Indian agent (Strother Martin) and a corrupt land agent (Gordon Jones); the thick-headed, longwinded territorial governor, the honorable Cuthbert H. Humphrey (Robert Lowery), and the government back east are trying to push the Indians -- whose chiefs are some of McLintock's oldest enemies and his best and most honored friends -- by shipping them off to a reservation, where they'll be cared for like old women; and to top it all off, Katherine is coming back to secure a divorce and take custody of their 17-year-old daughter, Rebecca (Stefanie Powers), who's been at school back east and no longer likes anything to do with the West, any more than her mother does. All of that -- plus the presence of a young hired hand (Patrick Wayne) who's interested romantically in McLintock's daughter -- is the setup for a sprawling comedy Western with serious overtones, part battle-of-the-sexes and part political tract.

McLintock! was made mostly to keep John Wayne's production company solvent in the wake of the losses incurred from the production of The Alamo. Wayne needed a film that could be made quickly and have mass appeal, and he got more than he bargained for in James Edward Grant's screenplay, which owed a little to both The Taming of the Shrew and The Quiet Man. Shot in the spring of 1963 and premiered in late November of that year, McLintock! proved to be one of the star's most popular and successful films of the '60s. It was a prized possession of the Wayne estate and was held unavailable for all of the '80s and beyond until they missed the copyright renewal in 1991 -- after that, it emerged in numerous substandard videocassette and DVD editions. There was an authorized VHS edition from MPI in the early '90s, and there were legitimate showings on WTBS, but until 2005 there was no decent quality DVD version. Late that year, Paramount Home Video, working under license from the Wayne estate, released a beautiful letterboxed DVD edition loaded up with extras. ~ Bruce Eder, Rovi

Director Gordon M. Douglas specializes in comedy and action films, and here he puts the two genres together for a generally successful, well-acted chase drama. Two partners, Jim (Clint Walker) and Shawn (Roger Moore) have had the good fortune to find a gold fortune, but just after their strike, they end up in serious trouble. Word of their newfound status gets out to the wrong people, and before they have any time to cash in their chips and retire, they are running like the wind from a variety of money-grubbing marauders whose only goal in life is to return Jim and Shawn to their original impoverished state. As the chase heads toward a climactic moment, everything builds up to a convenient, if unconvincing conclusion. ~ Eleanor Mannikka, Rovi

Sam Peckinpah's first feature as director is this modest Western, taking place in the late 1860s. Yellowleg (Brian Keith), a former sergeant in the Union army, is obsessed with tracking down Turk (Chill Wills), a Rebel army deserter who, during the War Between the States, tried to scalp him as he lay wounded on a battlefield. Yellowleg finds Turk and his sidekick Billy (Steve Cochran) in a cantina and convinces them to help him rob a bank. They journey to Gila City, where the bank is located, and find that another group of bank robbers are also in Gila City to rob the same bank. During a shoot-out with the other bank robbers, Yellowleg accidentally kills the nine-year-old son of dance-hall hostess Kit Tilden (Maureen O'Hara). Remorseful at having caused the death of Kit's son, Yellowleg forces Turk and Billy to accompany him through Apache territory to bury Kit's son at the gravesite of her husband in the ghost town of Siringo. When Billy attacks Kit, Yellowleg throws him out of their camp. Then Turk deserts. As Kit and Yellowleg finally reach Siringo, Yellowleg realizes that he is in love with her. But then, Billy and Turk reappear, having robbed the bank in Gila City, leading to a final confrontation between Yellowleg and Turk. ~ Paul Brenner, Rovi

John Wayne's directorial debut The Alamo is set in 1836: Wayne plays Col. Davy Crockett, who, together with Colonels Jim Bowie (Richard Widmark) and William Travis (Laurence Harvey) and 184 hardy Americans and Texicans, defends the Alamo mission against the troops of Mexican general Santa Ana. There's a lot of macho byplay before the actual attack, including the famous "letter" scene in which Wayne craftily rouses the patriotic ire of his subordinates. Also appearing are Richard Boone as Sam Houston, and Chill Wills (whose somewhat tasteless Oscar campaign has since become legendary in the annals of shameless self-promotion) as Beekeeper. Wayne's production crew was compelled to reconstruct the Alamo in Bracketville, Texas, about a hundred miles from the actual site. Dimitri Tiomkin's score, including The Green Leaves of Summer, received generous airplay on the Top-40 radio outlets of America. Rumors persist that Wayne's old pal John Ford directed most of The Alamo; cut to 161 minutes for its general release, the film was restored to its original, 192-minute length in 1992. ~ Hal Erickson, Rovi

A spare, almost austere western, From Hell to Texas stars Don Murray as a carefree cowpoke. Accidentally killing the son of a powerful land baron (R. G. Armstrong), Murray runs for his life, pursued by the dead man's vengeful brothers. The fugitive is sheltered by Chill Wills, upon whose ranch Murray spends the bulk of his screen time. In love with Wills' daughter (Diane Varsi), Murray is concerned that he'll eventually have to leave when his pursuers catch up with him, but the boy is exonerated when he saves the life of the land baron's youngest son (Dennis Hopper). A superb piece of filmmaking, From Hell to Texas is barely worth watching unless seen in its original CinemaScope. ~ Hal Erickson, Rovi

Originally titled Man of the West (the name of the Philip Yordan novel on which it was based), Gun Glory was rechristened to avoid confusion with a like-vintage Gary Cooper vehicle of the same title. Stewart Granger plays gunslinger/gambler Tom Early, who tries a bit too late to make amends for past misdeeds. Hoping to regain the respect of his community in general and his teenaged son Young Tom (Steve Rowland) in particular, Early vows to hang up his guns and live a respectable life. This proves well nigh impossible when the community is threatened by the incursions of evil cattle baron Grimsell (James Gregory). Rhonda Fleming costars as Jo, the only person in town who truly cares whether Early lives or dies. ~ Hal Erickson, Rovi