Movie fans who recall Sam Peckinpah as a writer and director of violent Westerns will see something quite different in "The Ballad of Cable Hogue". The film, much like "The Wild Bunch" and "Pat Garrett and Billy the Kid", makes a statement about the passing of the Old West, a favorite Peckinpah theme. Of the three, it's the one with the least amount of blood letting and the most humor and as it turns out, was cited by Peckinpah as his personal favorite.
I find myself in the middle on this picture, entertaining enough in it's way, but often times it seemed the story was rambling aimlessly in search of a real plot. Then, every time the director attempted some novelty, like the winking currency or the Keystone Cop run around, I was left a little perplexed regarding the integrity of the story. Actually, it seemed like one of the director's preoccupations here was with outright titillation, with the camera fondly zooming in on Stella Stevens' substantial assets, along with those close-ups of her strategically placed name badge. The presence of David Warner's preacher character only added to that perception, he of the Church of the Wayfaring Stranger. At least he was right out there with his unbridled lust, but it seemed just a little too convenient that Mrs. Jensen agreed to such comfort in her time of grief.
One thing I CAN say with some confidence is that this is probably the finest performance I've seen by Jason Robards. He takes the viewer through a fairly wide range of characterizations and emotions quite effectively. I would like to know though how he managed to get through the scene while washing Hildy's (Stevens) back; on screen it looked like he was in complete control.
Anyway, this won't make my list of favorite Westerns, or even favorite films by Peckinpah. I guess it has it's place, but given all the diverse elements in the story, one might ask why the director didn't go all out for genuine spaghetti.
I find myself in the middle on this picture, entertaining enough in it's way, but often times it seemed the story was rambling aimlessly in search of a real plot. Then, every time the director attempted some novelty, like the winking currency or the Keystone Cop run around, I was left a little perplexed regarding the integrity of the story. Actually, it seemed like one of the director's preoccupations here was with outright titillation, with the camera fondly zooming in on Stella Stevens' substantial assets, along with those close-ups of her strategically placed name badge. The presence of David Warner's preacher character only added to that perception, he of the Church of the Wayfaring Stranger. At least he was right out there with his unbridled lust, but it seemed just a little too convenient that Mrs. Jensen agreed to such comfort in her time of grief.
One thing I CAN say with some confidence is that this is probably the finest performance I've seen by Jason Robards. He takes the viewer through a fairly wide range of characterizations and emotions quite effectively. I would like to know though how he managed to get through the scene while washing Hildy's (Stevens) back; on screen it looked like he was in complete control.
Anyway, this won't make my list of favorite Westerns, or even favorite films by Peckinpah. I guess it has it's place, but given all the diverse elements in the story, one might ask why the director didn't go all out for genuine spaghetti.