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Author Topic: The Sheepman (1958)  (Read 7012 times)
titoli
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« on: April 08, 2010, 10:16:28 PM »

I love this movie. I rewatched it (dubbed) and it was still a pleasure from a to z. Only problem is with Shaughnessy: i don't think he fits the part, he's too clownish. I had forgotten Roberts was in it: awesome performance as a real mean villain. His duel with Ford is one of the best ever. Ford delivers maybe his best performance. He actually allows the movie to stride comedy and action at the same time. MacLaine was still gorgeous and Nielsen a fascinating villain. I'll buy the dvd. 8\10



(the credits of The Fighting Kentuckian ended up on the cover Grin)

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titoli
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« Reply #1 on: April 08, 2010, 10:21:30 PM »

Recent american release.


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« Reply #2 on: April 09, 2010, 09:18:11 AM »

Not to mention there's Shirley Mac Lain.

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« Reply #3 on: November 04, 2010, 06:09:57 AM »

Something about this film.

Mysterious stranger (Glen Ford) arrives on the train. From the moment he hits town he establishes an identity of someone unpredictable and not to be messed with. He stumbles upon the leader of town characters, a livery stable owner, who he tricks and bribes into being his confidant. He aquires a following of curious onlookers. He asks the town characters who the biggest bully in town is. He is Jumbo, he finds Jumbo at the bar and picks a fight and beats him. All this is in preparation for the fact that he is a sheepman and he is going to bring a herd of sheep to the public cattle range.

The entire opening sequence feels like it has been quoted by a number of films. The arrival on the train and the bet with himself sequence and the beating up of the baddest guy in town Corbucci quoted in Companero's.   The crowd of onlookers reminds you of the town following Eastwood around in High Plains Drifter.

The story is entertaining, Shirley McClain, looks good, and the supporting cast all to a great job, probably its biggest weakness is Leslie Nielsen as the main villain, Pernell Roberts is good as the hired gun. The scenery is spectacular, looks like Colorado, the score is not memorable though 7/10 

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dave jenkins
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« Reply #4 on: November 04, 2010, 11:37:28 AM »

I love this movie.
All is now clear. The burromen of the Sierra Madre earn titoli's disdain, but a sheepman is someone for him to praise. We all have our predilections, I guess. Evil

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titoli
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« Reply #5 on: November 04, 2010, 01:40:26 PM »

All is now clear. The burromen of the Sierra Madre earn titoli's disdain, but a sheepman is someone for him to praise. We all have our predilections, I guess. Evil

Of course: that all hangs on how big is one's subtext.

« Last Edit: November 04, 2010, 02:54:23 PM by titoli » Logged

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« Reply #6 on: November 04, 2010, 01:46:08 PM »

I was looking for the thread via the index glad you found it, I'll fix the index.  Afro

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T.H.
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« Reply #7 on: January 15, 2012, 01:08:40 PM »

I completely agree with titoli's original post. All I really have to add is that this was a very smart revenge plot.

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« Reply #8 on: February 23, 2013, 10:34:25 PM »

just saw this on TCM's 31 Days of Oscar (it was Oscar-nominated for Best Screenplay). Good times  Afro


It's mostly a comedy, but somehow feels like there is something serious underpinning it all along, not as much of a straight comedy like eg. McLintock or The Cheyenne Social Club. You are given a clue that this is somehow gonna be a serious revenge movie, when Ford tells MaClaine of his wife being killed by this gunman he is looking for.
Then, toward the end, from the moment the Nielsen brings the three hired guns to town, the comedy is all gone, it becomes a very serious movie, there is no comedy whatsoever underpinning the gunfights at the end, which feel as serious as in any Western; but then it reverts to comedy again for the final scene.

When I read that the movie was nominated for best screenplay, it got me thinking about the screenplay: this so easily could have been made into a serious Western; I wonder if the writers intended it to be a comedy all along, or if that's a decision the director (George Marshall) made after seeing the screenplay. Cuz this screenplay could have been a serious revenge Western with hardly any change in dialogue.  (I could just see the writers viewing the completed movie and saying, 'is this story I wrote?!)

During those early scenes where Edgar Buchanan and his buddies are following Ford around everywhere, I was laughing so hard I couldn't breathe!

And how about the chop suey restaurant in the Wild West; seeing the gundlinger digging his fork into some beef lo mein was hilarious. Happily though, the movie never goes to slapstick comedy. (Just when you think there's gonna be the major barroom brawl, after Ford is kicked out of town, it's stopped before it goes anywhere).

I'll say that this movie is about as good as a comedy Western can get  Wink

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« Reply #9 on: February 24, 2013, 04:18:16 AM »

just saw this on TCM's 31 Days of Oscar (it was Oscar-nominated for Best Screenplay). Good times  Afro


It's mostly a comedy, but somehow feels like there is something serious underpinning it all along, not as much of a straight comedy like eg. McLintock or The Cheyenne Social Club. You are given a clue that this is somehow gonna be a serious revenge movie, when Ford tells MaClaine of his wife being killed by this gunman he is looking for.
Then, toward the end, from the moment the Nielsen brings the three hired guns to town, the comedy is all gone, it becomes a very serious movie, there is no comedy whatsoever underpinning the gunfights at the end, which feel as serious as in any Western; but then it reverts to comedy again for the final scene.

When I read that the movie was nominated for best screenplay, it got me thinking about the screenplay: this so easily could have been made into a serious Western; I wonder if the writers intended it to be a comedy all along, or if that's a decision the director (George Marshall) made after seeing the screenplay. Cuz this screenplay could have been a serious revenge Western with hardly any change in dialogue.  (I could just see the writers viewing the completed movie and saying, 'is this story I wrote?!)

During those early scenes where Edgar Buchanan and his buddies are following Ford around everywhere, I was laughing so hard I couldn't breathe!

And how about the chop suey restaurant in the Wild West; seeing the gundlinger digging his fork into some beef lo mein was hilarious. Happily though, the movie never goes to slapstick comedy. (Just when you think there's gonna be the major barroom brawl, after Ford is kicked out of town, it's stopped before it goes anywhere).

I'll say that this movie is about as good as a comedy Western can get  Wink


If I remember right Corbucci's "Vamos a Matar Companeros" sort of quotes that beginning sequence in The Sheepman, so now I think you should check Vamos a Matar Companeros out you will probably really like it, it is along the same lines and it has a catchy Morricone score. Afro

« Last Edit: February 24, 2013, 04:20:38 AM by cigar joe » Logged

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« Reply #10 on: February 24, 2013, 04:23:47 AM »

If I remember right Corbucci's "Vamos a Matar Companeros" sort of quotes that beginning sequence in The Sheepman, so now I think you should check Vamos a Matar Companeros out you will probably really like it, it is along the same lines and it has a catchy Morricone score. Afro

is that one a comedy too or is it serious?

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« Reply #11 on: February 24, 2013, 04:27:06 AM »

is that one a comedy too or is it serious?

Its humorous like The Sheepman, not slapstick like My Name is Nobody.

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