Synopsis
Showdown in the High Sierra!
An ex-lawman is hired to transport gold from a mining community through dangerous territory. But what he doesn't realize is that his partner and old friend is plotting to double-cross him.
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Ride the High Country
Cast
Randolph Scott Joel McCrea Mariette Hartley Ron Starr Edgar Buchanan R.G. Armstrong Jenie Jackson James Drury L.Q. Jones John Anderson John Davis Chandler Warren Oates Alice Allyn Oscar Blank Chet Brandenburg Don Brodie Chris Carter Byron Foulger Frank Hagney Percy Helton Victor Izay Don Kennedy Jack Kenny Donald Kerr Mina Martinez Charles McQuary Michael T. Mikler Spec O'Donnell Carmen Phillips Show All…
Director
Producer
Writer
Editor
Cinematography
Assistant Director
Art Direction
Set Decoration
Stunts
Composer
Makeup
Hairstyling
Studio
Country
Primary Language
Spoken Languages
Alternative Titles
Sacramento, Duelo en la alta sierra, Pistoleiro do Entardecer, Guns in the Afternoon, Coups de feu dans la Sierra, Sfida nell'alta Sierra, Délutáni puskalövések, Os Pistoleiros da Noite, Ο Εκδικητής της Ερήμου, בארץ התיכונה, Pistoleiros do Entardecer, 昼下がりの決斗, Скачи по высокогорью, Ездачи в планината, İz Peşinde, Jízda vysočinou, 午后枪声, De red efter guld, بر دشت مرتفع بتاز, Strzały o zmierzchu, Pistoleros del atardecer, 하오의 결투, Viheltävät luodit, Duel a les terres altes
Genre
Themes
Releases by Date
Theatrical
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USANR
14 Jul 1962
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Japan
01 Jan 1963
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Brazile 12
30 Jul 1963
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PortugalM/12
Physical
23 Jan 2008
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Netherlands12
Releases by Country
Brazil
01 Jan 1963
- Theatricale 12
Japan
14 Jul 1962
- Theatrical
Netherlands
23 Jan 2008
- Physical12 DVD
Portugal
30 Jul 1963
- TheatricalM/12
USA
20 Jun 1962
- TheatricalNR
Popular reviews
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I couldn't help but notice that most of the reviews for Ride the High Country were sent in by men, as it maybe often is the case with Westerns, but it seems especially pronounced when it comes to Peckinpah's work. This doesn’t come as a surprise, and neither is it exactly an epiphany for me that I’m one of the few girls among all these boys. I have always been that girl, it’s always been easier for me to relate to men than to women, so much so that I once got into a physical fight with the self-proclaimed feminist back in high school. She called me a traitor, “a disgrace to my gender”, and I got up in the…
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ultimately coheres into a marvelous portrait of self-respect (which is what so many films strive to be about before they get waylaid), or rather ultimately *announces* itself as such, but gets there in an unnervingly relevant way, as we see how a lack of integrity for oneself manifests itself in all manner of sexual crimes... lets an aspiring rapist off the hook in the first 30 minutes and then spends the next hour earning that decision. love how the gold is always in the background and never any closer, like the mountains behind them.
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It may be early Peckinpah, but it’s still Peckinpah.
The master of gritty violence began his career in the realm of Westerns, and although he eventually branched out into other genres, his magnum opus still remains The Wild Bunch; however, his second ever directorial outing, Ride the High Country, is much deserving of praise as well.
Not unlike several other films in the era of revisionist Westerns, namely John Wayne’s The Shootist, this picture sees an aging lawman who has lived his life with honor having to come to terms with a now morally corrupt world that no longer cares about the values he holds dear. It’s nihilistic, brutal, and grounded in a way that would later come to define…
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At a time when cars begin to replace horses, two elderly gunslingers are hired to escort a shipment of gold and find they have become anachronistic. With Ride the High Country, Sam Peckinpah begins his journey of revisiting the western genre which will then find full expression in The Wild Bunch. In this film, immersed in the yellowed and autumnal tones of the Californian mountains, the director introduces elements of realism and complexity within a traditional setting such as that of travel and the gold rush, dismantling the myth of the frontier and portraying it in its twilight. The result is a work of great value that sets aside the epic and rhetoric typical of the genre for an in-depth…
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Sam Peckinpah is the myth of the American Frontier in the form of a film director.
Both could not exist without violence and subjugation. Both wrote their own legends borne on the brutality of white men against women and minorities. And it’s on the payment of that blood and suffering that both continue to be essential to this day.
“Ride the High Country” could have been a warm bit of Western genre mediocrity.
The film sets up the tale of two old timer gunslingers hired to transport gold through dangerous back country. But the buddy flick outset is a ruse for an onslaught of later violence both sexual and mortal.
Peckinpah apparently re-wrote the script for “Country” substantially while filming.…
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Drop-dead gorgeous cinemascope photography and a few hints of the bleak observations on aging and ugly impulses that Peckinpah would develop into his genre masterpieces but not enough to be considered revisionist. With the exception of a strange, disruptive structural gambit/detour in the middle it definitely feels like a very classical studio affair and more of a piece with the 50s in a way that made this come off a bit modest rather than the gut-wrenching I've come to expect from him. However, that could very well be the intended effect so gonna come back to this when I'm more familiar with Randolph Scott and Budd Boetticher who this very much seems to be in conversation with.
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Early western from Sam Peckinpah. Not as exciting or as violent as the films he would come to be known for; but an interesting film that touches on many themes that would be better explored later on in his filmography. The film takes place in a changing old west and focuses on a former lawman who is tasked with transporting some gold through the mountains. Stylistically, the film is very much in the old western aesthetic - but thematically it is closer to the revisionist westerns. The broad theme running throughout is the old gunslingers in a changing world that has effectively rendered them obsolete. This spins a morality tale as the two main characters find themselves at different ends…
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"If it's not yours, don't covet it."
Steve Judd (Joel McCrea) is slowing down in his old age. With fewer employment opportunities, he decides to leverage his reputation as a former lawman to take a job transporting gold. But he can't handle it alone, so he enlists his old friend Gil Westrum (Randolph Scott), who is more than eager to get away from his job working a carnival booth. Gil brings along his young sidekick Heck Longtree (Ron Starr). Little does Steve know the pair have designs to take the gold for themselves.
Peckinpah's Ride the High Country delightfully revels in its near complete lack of glamour. In place of a righteous lawman bringing order to a frontier, our protagonist…
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"I must say, I expected a much younger man."
Peckinpah's treatise on aging (no wonder he's said the film is about his father). Turns out growing up is the same for people as it is for civilizations: it's all about finding an interpersonal ethical code that matters to you and building enough conviction and self respect to stick to it. Society won't be livable until we all learn to ride the high country. Incredible how Peckinpah pulls us out of such a misanthropic world (one where the best guy around for a woman to marry is the one who apologizes after molesting her) with such an elegant message. He turns the classic western tension of civilization and savagery into something…
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Very early in "Ride the High Country," an aging gunslinger rides into a dusty Western town and has to steer out of the way to avoid being struck down by a fast-moving automobile—hard to think of a more concrete way Sam Peckinpah could announce this movie's concerns: namely, the twilight of the West and the passing of the traditional Western hero in the face of modernity.
And, indeed, the film itself feels like a more classical kind of Western colliding headfirst with a prescient flash of the gritty Seventies era of filmmaking to come: about halfway through the picture, we arrive in a mud-caked mining town full of grotesque and hateful characters, and the entire energy and tone of the…
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Cinematic Time Capsule
1962 Marathon - Film #30“I’m gonna put you behind bars, Gil”
“You'll pay hell gettin' it done”Randolph Scott and Joel McCrea are a couple of aged cowboys who’re tasked with the transportation of a bank’s bag of gold. However, it turns out that they’re partners with widely differing agendas.
Sam Peckinpah’s second film is a rough and scrappy western that mines several of his favorite themes while delivering some great visuals, mixed morality and a fantastic final showdown.
Randolph steals every scene he’s in and reportedly decided to retire after seeing the finished film. He wanted to quit while he was still ahead and figured he’d never be able to top his work in this.
”So long, partner”
“I’ll see you later”
Cinematic Time Capsule - 1962 RankedMartin Scorsese’s Favorite Films
The New York Times Book of Movies: The Essential 1,000 Films to See
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Director Sam Peckinpah effectively made only 14 films during his career, and depending on what biography you read on Sam, he's disowned more than half of them, been fired from a couple of others, and had final cut of almost all of his films taken away from him by various studios. Sam's abrasive personality had a lot to do with that, but he wasn't alone in only making a small amount of films during a career that spanned over twenty years. Kubrick technically made 12, and Tarantino, Fincher, Malick, and Nolan have all made less than a dozen too, so Peckinpah's 14 doesn't look quite so bad. This was only Sam's second film, and already he was gathering around him…
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