Ride the High Country

MGM thought they were producing just another B-Wesern when director Sam Peckinpah made this 1962 movie, but "Ride in the High Country" turns out to be a classic of the genre. Aging ex-Marshall Steve Judd (Joel McRae) is hired to transport a load of gold from a mining camp to town. He hires his old friend, Gil Westrum (Randolph Scott) and a younger one, Heck Longtree (Ron Starr) to help him guard the gold. Westrum tries to convince Judd to steal the gold, but Judd refuses. They attend the wild wedding of Elsa (Mariette Hartley), who ends up running away with them, having fallen for young Heck. While the groom's family comes after Elsa, Westrum and Longtree try to steal the gold. Judd stops them and vows to bring them in for trial. But when the in-laws catch up with Judd, Westrum returns to help out his old friend in one last gun battle.

"Ride the High Country" is about the death of the Old West. This film was supposed to be the last film for both Scott and McRae, although McRae changed his mind afterwards. Peckinpah presents a natural Western, in settings far removed from the Monument Valley splendor we associate with John Ford. Both the dialogue and the performances represent that realism as well. The final scene between Scott and McRae is as touching as any this side of "Shane." Of course, Peckinpah goes on to deal with the end of the Old West in a more different fashion in his classic "The Wild Bunch." But I really think this is the better Western once you get past all the bloody violence of the other one.

"Ride the High Country" aka "Guns in the Afternoon", when first released went almost unnoticed, and was generally acknowledged to be just anther B western. But it is far from that! It is perhaps my own personal favourite western of all time, and I have watched a few! It has been somewhat forgotten which is sad, because it is one that should be in anyone's top ten list of westerns. It contains perhaps one of cinemas saddest and most poignant endings. It is in short a wonderful achievement. Peckinpah moved to film from TV having directed the excellent "The Westerner" series, starring Brian Keith. He then moved into film, making the excellent and also largely forgotten "The Deadly Companions"(60). After "Ride the High Country" he went on to make "The Wild Bunch"(69), another film that contains greatness.

In this film Joel McCrea and Randolph Scott are perfectly cast as a pair of ageing ex lawmen. McCrea has fallen on hard times and doesn't have two cents to rub together. Scott is busy trying to fleece punters in his fairground show, his law enforcing days long forgotten.

The following exchange between McCrea and Scott sums up McCrea's philosophy on life, a good man who truly believes that a good reputation is worth more than gold or silver. Scott says in some of cinemas greatest lines "Partner, you know what's on a poor man's back when he dies? The clothes of pride! And they're not a bit warmer to him dead than they were when he was alive" There is a pause and he adds "What do you want, Steve?"
McCrea's reply is startling and makes you sit bolt upright. "To enter my House justified". The quote is from the Bible in the book of Luke. The biblical cadence continues through the film with other quotes.

McCrea's poverty is noted by Scott who points out to him on seeing the dilapidated state of his boots, "Dandy pair of boots you got there"
McCrea replies "Juan Fernandez made these for me in San Antone. Made them special. Had a hell of a time convincing him to put that hole in. Fine craftsman Juan, but he never understood the principle of ventilation".
Scott replies, "I remember Juan. Always felt the boot should cover the foot." To which McCrea replies "Short-sighted."
It is a funny, and at the same time sad exchange between the two old war horses, in a film that is very wise in its observations on ageing.

But the two old stagers have one last job to do before they can ride off into the sunset. McCrea is giving the task of transporting gold from a mining camp in the hills to the bank. He of course asks his old deputy Scott to help, but Scott has gone bad and eyes the money up for himself. Together with Scott's young partner they head off on the trail to get the job done. Scott soon finds that his old pardner is incorruptible still, despite his circumstances. On the way the two inevitably clash. They also clash with a family of thug's hell bent on murder and mayhem. The scene is set for a final all guns blazing finale. Will the two old comrades fight side by side once again? Will Scott come good again? Have they still got true grit? Will McCrea enter his house justified?

The film is enhanced by the location filming in the beautiful Inyo National forest, near Bishop in California's High Sierras. The scenery is absolutely stunning! It also helped that the cinematography was by one of Hollywood's greatest exponents of the art, Lucien Ballard. Peckinpah assembles many of his usual stock company of actors who give fine performances in support roles. The Hammond family are typical of the disreputables that inhabit and embellish all Peckinpah's films. Warren Oates is particularly good, and R G Armstrong even better as the bible thumping rancher. But it is the two old stagers who steal the show giving towering performances. This was Scott's last film in a long and distinguished career. What a wonderful way to finish! Sadly, although McCrea did retire, he came back later to make a cameo appearance in the dire "Cry Blood Apache", and for rather longer in the very average family film "Mustang Country". It is perhaps McCrea who really takes the top acting honour in the film. His dignified portrayal of a decent man is a great performance by a truly great actor. It could, and should have been a beautiful way for him to finish!

The McCrea character Steven Judd is perhaps one of cinemas most noble characters. A man of true principle and integrity! The sort of man you would follow through the jaws of hell. They really don't make them like him anymore. Somehow through meeting him in this film, you too feel a better person for the experience. My original review simply did not do justice to this film that I run out of superlatives for. It deserved better, so I have tried again. Hence it is longer than usual. Hopefully if you watch this film, if you haven't already, you will enjoy it as much as I did. You will also find it in the very fine Peckinpah collection, which might be better value if you do not have the other films. They are all excellent! This is a wonderful film. A very comfortable five stars.

Sam Peckinpah's elegaic western, also known as "Guns In The Afternoon, is surely one of the finest in its genre. The director explores the themes of friendship, honour and loyalty in pressing circumstances and changing times. Joel McCrea and Randolph Scotts' time-served experience in starring in mostly B westerns is as present as the ageing and time-worn "lawmen" they portray. The banker's son (Byron Foulger), who laughably looks as old as his father (Percy Helton), shakes Steve Judd's (McCrea's) hand to seal the deal for McCrea fetching the gold from the miner's camp only to turn it over to inspect Judd's fraying cuff. A life of integrity, honesty and disappointed hopes has led the now desperate Judd to this new venture.

The film is about transformation and ultimately, redemption. Ron Star's Heck Longtree is a young man whose moral compass is finally influenced by Judd as it had been earlier by Westrum. The young man always had courage but he learns about the importance of honour and integrity from Judd as he changes from a selfish, womaniser and potential murderer to a young man capable of sacrifice and the faithful love of Elsa Knudsen (Mariette Hartley).

However, Scott's Gil Westrum is not the only character capable of transformation. In what must be one of the most moving scenes in cinema, let alone westerns, the audience knows that Westrum will carry out Judd's last wishes to the letter - and in doing so will be worthy of joining Judd "later" in "The High Country".

"Gil Westrum: Don't worry about? about anything. I'll take care of it, just like you would have.
Steve Judd: Hell, I know that. I always did... You just forgot it for a while, that's all."

The film's intelligent script is worth pausing over for its ironic quips and its amusing repartee. Peckinpah's approach to right and wrong is more tonal in this part revisionist western than, for instance, John Ford's black hat - white hat, clear cut vision of good and evil. There again, Peckinpah's film was made during a more cynical, post-war period in the early Sixties, which Gil Westrum embodies for most of the film. Ford's "The Man Who Shot Liberty Valence", another excellent film in its own right, differs from Peckinpah's in almost every way and yet it was released in the same year, 1962. Its treatment of honour, age, integrity, friendship and love are also very different.

The next time you you watch "Ride The High Country" pause over the sign as Joshua Knudsen prays over his wife's grave. The message on it is intriguing, particularly for the representation of women in this and other Peckinpath films.

The formerly blacklisted, George Bassman's elegaic score amplifies the ambiguity of of the film's title, "Ride The High Country". With its journeys, to and from the gold camp, the moral high ground and, perhaps, the journey to heaven is implied for Judd. Lucien Ballard's cinematography and Peckinpah's shot-making in several sequences, particularly the final shootout, elevates the film far above most classical westerns.

In an age when it appears integrity, honesty, loyalty and honour are more absent in public life than ever, Peckinpah's western is a moral lesson on the lasting importance of these virtues.