Directed by Sam Peckinpah
Produced by Richard E. Lyons
Screenplay by N.B. Stone, Jr.
Director Of Photography: Lucien Ballard
Film Editor: Frank Santillo
Music by George Bassman
Cast: Joel McCrea (Steve Judd), Randolph Scott (Gil Westrum), Mariette Hartley (Elsa Knudsen), Ron Starr (Heck Longtree), James Drury (Billy Hammond), Edgar Buchanan (Judge Tolliver), R.G. Armstrong (Joshua Knudsen), Jenie Jackson (Kate), John Anderson (Elder Hammond), L.Q. Jones (Sylvus Hammond), Warren Oates (Henry Hammond)
Around this blog, it’s pretty much a given that Ride The High Country (1962) is one of the finest Westerns ever made. There are regulars here who say this is their all-time favorite movie — and it’s easy to see why.
There are so many reasons why this thing’s essential. First and foremost, it’s Randolph Scott and Joel McCrea on their way out and Sam Peckinpah on his way in — and all of them turning in some of their best work. Like John Wayne’s The Shootist (1976), this is a perfect Last Movie for Scott and McCrea (and for Scott it was indeed Last). With Peckinpah, one of the things that make his work so endlessly fascinating is that his major themes and stylistic stuff are evident from Day One. Watching that new set of his The Westerner TV series really drove that home.
High Country and The Wild Bunch go so well together, coming at the same themes (outliving your time, sticking to a personal code, etc.) from different angles, but with the same love of the outmoded and the outsider. If you don’t get a little choked up at the end of Ride The High Country, there must be something wrong with you. This one gets me every time.
I’m not here to convince you this is a great movie. You probably figured that out a long time ago — without any help from me. But I do think you need the Blu-Ray from Warner Archive. From every wrinkle in our heroes’ faces to Ron Starr’s red shirt to the gorgeous locations (Horseshoe Lake, etc.), high-definition does Lucien Ballard’s CinemaScope photography proud. It looks like film, which is exactly what it should look like. The increased clarity gives the whole thing a real sense of depth — which has become something I look for in HD transfers these days.
Lucky for us all, the extras from the old DVD release have been retained. They’re terrific and well worth your time. And this disc is well worth your investment (or re-investment, in many of our cases). As I said earlier, this one’s essential.
Always wanted to watch this and The Man Who Shot Liberty Valance (1962) together. It’d be fun to contrast Ford and Peckinpah’s takes on the end of the West.
The images up top are the cover and spread from a handbill or something from Spain. Pretty cool, huh?