Sheb Wooley Movies

While visiting a friend in Nashville, Jessica (Angela Lansbury) comes face to face with Bobby Diamond (Jimmy Dean), a popular country singer with more than a few of the requisite skeletons in his closet. A maelstrom of greed and philandering yields a murder, whereupon Jessica tries to find out who among Bobby's many enemies hated him enough to kill him. Featured in the cast is C&W entrepreneur-club owner Mickey Gilley, and "Carol Brady" herself, Florence Henderson. ~ Hal Erickson, Rovi

Hoosiers tells the true story of a group of underdogs who become champions. Set in the 1950s, Hoosiers is about a hard-luck, unemployed college basketball coach (Gene Hackman) who gets a chance to coach a small-town Indiana high-school basketball team. Facing resentment from the community and the team itself, Hackman manages to inspire his young athletes, leading them to the state championship with the help of the assistant coach (Dennis Hopper), who happens to be a recovering alcoholic. ~ Stephen Thomas Erlewine, Rovi

This Western comedy is set in the early 1900's and features the inept duo of Ben (Roy Clark) and Booger (Mel Tillis). The two men visit a bank seeking a loan but carry a shotgun with them. Understandably, this gives the wrong impression to the bank staff and before they know it, they are being chased all over creation by the sheriff (Burl Ives) and an army captain (Glen Campbell). Several songs are interspersed with the chase scenes, and Burt Reynolds makes a cameo appearance as an ace poker player who cleans out Ben and Booger. ~ Eleanor Mannikka, Rovi

Clint Eastwood's fifth film as a director and eighth Western as a star (ninth if you count Paint Your Wagon), The Outlaw Josey Wales chronicles the hero's violent journey westward after the Civil War. With fresh memoris of his family's slaughter by Red Leg soldier Terrill (Bill McKinney), Confederate Josey Wales (Eastwood) refuses to join his captain Fletcher (John Vernon) and the rest of his comrades in surrender to a U.S. Army regiment. Deemed a dangerous outlaw after a bloody one-man battle with that regiment, Josey is pursued by U.S. cavalry soldiers led by the unwilling Fletcher and the murderous Terrill, as well as by bounty hunters who eventually learn how coolly lethal Wales can be. Despite his desire to remain a lone fugitive, Josey soon has a crew of travelling companions that includes Cherokee Lone Watie (Chief Dan George) and the pretty Laura Lee (Sondra Locke) and her vigorous Grandma Sarah (Paula Trueman), settlers on their way to a ranch near ghost town Santa Rio. The few Santa Rio residents welcome the group, but their peace and Josey's burgeoning romance with Laura Lee are soon interrupted by Terrill's arrival. A skillfully violent man of few, well-chosen words, Josey Wales resembles Eastwood's previous Western heroes in Sergio Leone's trilogy, A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad, and the Ugly (1966). However, the emphasis on friends and family served notice that, in the words of one critic, "the Man With No Name doesn't live here anymore." Indeed, Josey Wales would be Eastwood's last western before 1985's Pale Rider. Although it did not garner similar critical praise when it was released, Eastwood considers The Outlaw Josey Wales to be the equal of the Oscar-winning Unforgiven (1992). ~ Lucia Bozzola, Rovi

John Wayne and Kirk Douglas spend half of The War Wagon trying to knock one another off and the other half working shoulder to shoulder. Settling an old score with avaricious mine owner Bruce Cabot, Wayne plans to steal a $500,000 gold shipment from his enemy. Douglas, at first hired by Cabot to kill Wayne, goes along with the robbery scheme. Also in on the plan is Howard Keel, superbly cast as a world-weary, wisecracking Native American (it's the sort of part that nowadays would go to Graham Greene). The titular war wagon is the armor-plated, Gatling-gun fortified stagecoach wherein Cabot's gold is transported. Thus the stage is set for a slam-bang finale, and director Burt Kennedy isn't about to disappoint the viewers. Best bit: after Kirk and The Duke gun down Cabot's henchmen Bruce Dern and Chuck Roberson, Douglas quips "Mine hit the ground first"--whereupon Wayne replies "Mine was taller." ~ Hal Erickson, Rovi

A small town in the Midwest goes in big for the folk music craze that followed in the wake of the twist. The thin plot has some romantic interplay between two amorous couple, but mainly the film serves as a showcase for some non-offensive music from the collection of stars. Johnny Cash, Sheb Wooley, The Brothers Four and George Hamilton IV are some of the musical acts featured. Wooley, famous for his novelty tune "Purple People Eater", co-wrote the title song with musical supervisor Fred Karger. ~ Dan Pavlides, Rovi

This near-legendary western stars Sterling Hayden as George Hanson, the son of a Swedish seaman-turned-farmer (Ted Stanhope). When he runs afoul of town boss Ed McNeil (Sebastian Cabot), Hanson's father is gunned down by McNeil's henchman Johnny Crale (Ned Young). Knowing full well that he can expect no help from the town's corrupt sheriff (Tyler McVey), Hanson takes matters in his own hands. Tension mounts steadily until the unforgettable climactic showdown, wherein Hanson arms himself with a harpoon! Extremely well written by Ben L. Perry, Terror in a Texas Town was one of the last directorial efforts of cult favorite Joseph H. Lewis. ~ Hal Erickson, Rovi

Trooper Hook is played by Joel McCrea, but top billing goes to Barbara Stanwyck in this multilayered western. McCrea plays a Cavalry officer sent to rescue Stanwyck, who had been captured by Indians years earlier. Upon reaching the Indian village, McCrea discovers that Stanwyck, forced into marrying the chief, has a young son (Terry Lawrence) whom she refuses to desert. After intensive persuasion, Stanwyck permits McCrea to bring herself and her son back to her white husband, John Dehner--who refuses to have anything to do with the child. But after Dehner's death, both Stanwyck and her son find happiness with McCrea. Trooper Hook was written and directed by Charles Marquis Warren, an old western hand who was responsible for many of the best hour-long Gunsmoke TV episodes. ~ Hal Erickson, Rovi

After closing down his film studio, producer Robert L. Lippert took charge of Regal Films, a subsidiary of 20th Century-Fox designed to turn out low-budget, non-CinemaScope productions. One of the first of these films was the modest western The Black Whip. Colleen Gray, Angie Dickinson, Adele Mara and Dorothy Schuyler play four women of questionable morals who conspire to help a notorious outlaw escape the law. The ladies are ushered into a stagecoach by the village elders and ordered to get out of town and stay out. En route to their next destination, the ladies' coach breaks down at a way station managed by Hugh Marlowe. As Marlowe repairs the wheels, an outlaw gang rides up, demanding that the girls be handed over to them. By this time, the ladies have no use for the bad guys, but Marlowe is too mild-mannered to intervene. He finally outfoxes the villains by using brains instead of brawn. ~ Hal Erickson, Rovi

George Stevens' sprawling adaptation of Edna Ferber's best-selling novel successfully walks a fine line between potboiler and serious drama for its 210-minute running time, making it one of the few epics of its era that continues to hold up as engrossing entertainment across the decades. Giant opens circa 1922 in Maryland, where Texas rancher Jordan "Bick" Benedict (Rock Hudson) has arrived to buy a stallion called War Winds from its owner, Dr. Horace Lynnton (Paul Fix). But much as Bick loves and knows horses, he finds himself even more transfixed by the doctor's daughter, Leslie Lynnton (Elizabeth Taylor), and after some awkward moments, she has to admit that she's equally drawn to the shy, laconic Texan. They get married and Leslie spends her honeymoon traveling with Jordan to his ranch, Reata, which covers nearly a million acres of Texas. Once there, however, she finds that she has to push her way into her rightful role as mistress of the house, past Bick's sister, Luz (Mercedes McCambridge), who can't accept her brother's marriage or the changes it means in the home they share. Also working around Reata is the laconic ranch hand Jett Rink (James Dean) -- from a family as rooted in Texas as the Benedicts but not nearly as lucky (or "foxy"), Jett is dirt-poor and barely educated at all, and he fairly oozes resentment at Bick for his arrogance, although Luz likes him and for that reason alone Bick is obliged to keep him on. One thing Jett does have in common with his employer is that he is in awe of Leslie's beauty; another is his nearly total contempt for the Mexican-Americans who work for them -- Jett and Bick may have contempt for each other, but either one is just as likely to dismiss the Mexican-Americans around them as a bunch of shiftless "wetbacks." Luz feels so threatened with a loss of power and control that she decides to assert herself with War Winds, yet another "prize" that Bick brought back from Maryland that resists her authority -- then decides to ride the stallion despite being warned that no one but Leslie is wholly safe on him, and spurs him brutally in an effort to break him, which ends up destroying them both in the battle of wills she starts.

After Luz's death, Jett learns that she left him a tiny piece of land for his own, on Reata, which he refuses to sell back to Bick, preferring to keep it for his own and maybe prospect for oil on it. Meanwhile, Leslie and Bick have their own problems -- Leslie can't abide the wretched conditions in which the Mexican families who work on Reata are allowed to live, taking a special interest in Mr. and Mrs. Obregon and their baby, Angel; but Bick doesn't want his wife, or any member of his family, concerning themselves with "those people." Leslie's humanity and her independence push their marriage to the limit, but Bick comes to accept this in his wife, and in four years of marriage they have three handsome children, a boy and two girls, and a loving if occasionally awkward home life. Meanwhile, Jett strikes oil on his land -- which he's named Little Reata -- and in a couple of years he's on his way to becoming the richest man in Texas, getting drilling contracts on all of the land in the area (except Reata) and making more money than the Benedicts ever saw from raising cattle. Bick is almost oblivious to the way Jett grows in power and influence across the years and the state, mostly because he's got his own family to worry about, including a son, Jordan III (Dennis Hopper), who doesn't want to take over the ranch from him, but wants instead to be a doctor; an older daughter, Judy (Fran Bennett), who wants to study animal husbandry and marry a local rancher (Earl Holliman) and start a tiny spread of her own; and a younger daughter, Luz (Carroll Baker), who's just a bit man-crazy and star-struck by the movies.

The American entry into the Second World War and the resulting need for oil forces Bick to go into business with Jett and allow him to drill on Reata, and suddenly the Benedicts are wealthy enough to be part of Jett Rink's circle, which includes the governor of the state and at least one United States senator at his beck and call -- and Luz develops a serious crush on Jett, who likes his women young and is especially attracted to her, as Bick's and Leslie's daughter. Young Jordan marries Juana, a Mexican-American nursing student (Elsa Cardenas), and his father accepts it begrudgingly, with help from Leslie. The war kills Angel Obregon (Sal Mineo), a death that even affects Bick, but the Benedict family gets through it wealthier than ever and grows some more with the birth of Jordan IV to Jordie and Juana. When the family attends a gala opening of Jett Rink Airport, which concludes with a dinner honoring Jett's success, however, young Jordan's wife is humiliated by Jett's racist edicts, and he is beaten up by Jett's men after punching the oil baron. Seeing this, Bick challenges his old rival to the fight that's been brewing for a quarter of a century and wins by default, Jett being too drunk to defend himself or to hit; he's also too drunk to make the grand speech that was to climax the celebration, and he ends up alone in the ballroom. The Benedicts have it out with each other, young Jordan accusing his father of being as much a racist as Jett, and Leslie caught in the middle between her husband and her son. It looks like the Benedicts may lose each other, until an encounter with a racist diner owner forces Bick to stand up and get knocked down (more than once) defending his daughter-in-law and his grandson.

Seen today, Giant seems the least dated of any of James Dean's three starring films, in part because it addresses issues that remain relevant more than 50 years later, and also because it has the best all-around acting and the best script of any of the three. Taken in broader terms, it's even better, with two of the best performances that Elizabeth Taylor and Rock Hudson ever gave, and perhaps the second best of Hudson's whole career (after Seconds) -- the only unfortunate element at modern theatrical screenings is the tendency of younger viewers, who only know him in terms of the revelations late in his life of his being gay, to laugh and snicker at elements of Hudson's characterization; but his work is so good that the titters usually fade after the first 30 minutes or so. ~ Bruce Eder, Rovi

Adapted by Don M. Mankiewicz from his own novel, Trial is a surprisingly timely story of how justice can sometimes be compromised by "special interests". It all begins when Mexican youth Angelo Chavez (Rafael Campos) is placed on trial for the murder of a white teenaged girl. Battling the lynch-mob mentality in and out of the courtroom is relatively inexperienced defense attorney David Blake (Glenn Ford). Believing that anything done on behalf of his client is for the common good, Blake approves the organization of an "Angelo Chavez Society" to pay the boy's court costs and ostensibly see that justice is done in the face of small-town prejudice. Soon, however, Blake discovers that both he and his client are being used as dupes by a Communist lawyer, who hopes that Chavez will be found guilty and executed, thereby creating a martyr for the Red cause. Much was made in 1955 of the fact that the presiding judge is a black man, played by Juano Hernandez. A bit creaky at times, Trial nonetheless still packs a wallop when shown today. ~ Hal Erickson, Rovi

One of the strangest westerns on record, Johnny Guitar has less in common with Zane Grey than it does with Sigmund Freud and Krafft-Ebbing. The title character, played by Sterling Hayden, is a guitar-strumming drifter who was once the lover of Arizona saloon-owner Vienna (Joan Crawford). Though her establishment doesn't make a dime, Vienna doesn't care because the railroad is going to come in soon, bringing a whole slew of thirsty new customers. This puts her at odds with bulldyke rancher Emma Small (Mercedes McCambridge), who doesn't want any new settlers on her land. Hating Vienna with a purple passion, Emma will do anything to drive her out of the territory...and even worse, Emma's got the law and the other ranchers on her side. Hoping to keep Emma at bay, Vienna hires Johnny Guitar, who unbeknownst to everyone else in town is a notorious gunslinger. But Johnny prefers to bide his time, waiting for Emma to strike before he makes his move. As a result, Vienna endures several life-threatening experiences, culminating with a feverish chase through the Arizona wilds with lynch-happy Emma and her minions in hot pursuit. According to most sources, the animosity between Joan Crawford and Mercedes McCambridge was quite real, added several extra dimensions to their scenes together. Director Nicholas Ray and screenwriter Philip Yordan stuff the film with so much sexual symbolism that one wonders why they left out a train going into a tunnel. Ms. Crawford's vivid red-and-blue wardrobe scheme was later appropriated by Ray for James Dean in Rebel Without a Cause--with equally stunning results. In addition to the stars, Johnny Guitar is well stocked with reliable supporting players, including Ernest Borgnine, Ben Cooper, Royal Dano (superb as a consumptive, book-reading hired gun) and Paul Fix. ~ Hal Erickson, Rovi

1954's Rose Marie is the third film version of the 1924 Otto Harbach-Oscar Hammerstein-Rudolph Frinl operetta of the same name. Though not a completely faithful adaptation, this version is closer to the original than the (admittedly enjoyable) Nelson Eddy-Jeanette MacDonald version of 1936. Ann Blyth stars as Rose Marie Lemaitre, a hoydenish French-Canadian lass who is "tamed" by cheerful mountie Mike Malone (Howard Keel). At first, Mike is only interested in using Rose Marie to capture her sweetheart, renegade trapper Duval (Fernando Lamas), but eventually he falls in love with her, and she with him. Counterpointing the romantic main plot are the comic antics of Bert Lahr, who elucidates his sorry lot in life with the song "I'm the Mountie Who Never Gets His Man." The original Rudy Friml score is well in evidence, along with several new Friml compositions and a few extra tunes penned by Georgie Stoll and Herbert Baker. There's also a remarkable "Indian sacrifice" production number spotlighting a young Rita Moreno. Original Cinemascope prints of Rose Marie included a nine-minute prologue, wherein conductor Alfred Wallenstein led the MGM orchestra in a rendition of "Poet and Peasant Overture" (this was evidently inspired by the similar symphonic prologue which opened 20th Century Fox's How to Marry a Millionaire). ~ Hal Erickson, Rovi