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Synopsis
Cable Hogue says … “Do unto others … as you would have others do unto you.”
Double-crossed and left without water in the desert, Cable Hogue is saved when he finds a spring. It is in just the right spot for a much needed rest stop on the local stagecoach line, and Hogue uses this to his advantage. He builds a house and makes money off the stagecoach passengers. Hildy, a prostitute from the nearest town, moves in with him. Hogue has everything going his way until the advent of the automobile ends the era of the stagecoach.
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Director
Director
Producers
Producers
Writers
Writers
Editors
Editors
Cinematography
Cinematography
Executive Producer
Exec. Producer
Art Direction
Art Direction
Set Decoration
Set Decoration
Special Effects
Special Effects
Composer
Composer
Sound
Sound
Makeup
Makeup
Hairstyling
Hairstyling
Studio
Country
Language
Alternative Titles
Ballade von Cable Hogue, Abgerechnet wird zum Schluss, La ballata di Cable Hogue, Un nommé Cable Hogue, La balada de Cable Hogue, A Morte Não Manda Recado, A pap, a kurtizán és a magányos hős, Баллада о Кэйбле Хоге, Balada o Cable Hogueovi, 砂漠の流れ者, Балада за Кейбъл Хоуг, Çöl Şeytanı, 牛郎血泪美人恩, Ballada o Cable'u Hogue'u, 케이블 호그의 발라드, Præriens tørstige mand, Balladi Cable Hoguesta, Balladen om Cable Hogue
Theatrical
18 Mar 1970
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USAR
04 Sep 1970
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Germany16
24 Oct 1970
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Japan
07 Dec 1970
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Portugale 12
01 Jan 1971
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Brazile 12
29 Oct 1971
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IrelandPG
Physical
29 Mar 2006
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Netherlands12
Brazil
Germany
Ireland
Japan
Netherlands
Portugal
USA
More
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🎵 I was walkin’ in butterfly mornin’s and wildflower afternoons 🎵
In 1969, Sam Peckinpah dropped The Wild Bunch on the world. A bloodbath revisionist Western that eventually marked the end of the mythical Old West and was widely hailed as the work of a man bound in soul and spirit to violence incarnate. Both of these things were true; the Western genre as audiences knew it had come to pass and Peckinpah would indeed go on to produce brutal picture after brutal picture. However, he decided he first needed a little bit of comfort food to soothe his troubled mind. Enter: The Ballad of Cable Hogue.
A heartfelt, humorous, happy-go-lucky Western, this film sees Jason Robards as a kindhearted…
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There’s a gentler timeline out there... where audiences of the 1970s had less of a bloodlust, and Sam Peckinpah spent the second half of his career directing raunchy buddy hangout films.
Sadly, this is not the timeline we were given. But “The Ballad of Cable Hogue” tantalises with what could have been.
After the global success of the bloody, genre-changing “The Wild Bunch,” Peckinpah did the only sensible thing, and f*cked off to the desert to drink. Totalling up a John Huston-level $70,000 bar tab — between rounds, he made “Cable Hogue,” a movie about the founding of America’s very first pit stop.
“Cable” is a truly bizarre outlier in Peckinpah’s filmography. While it has traces of his typical sex…
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"- You've been awful nice to me, Hogue. Never bothered you none what I am?
- Hell no, it never bothered me. I enjoyed it. Now, what the hell are you? Human being. Try the best you can. We all got our own ways of living.
- And loving?
- Gets mighty lonesome without it."
Peckinpah's little acre of paradise just before civilization kills west for good. It is the benign comic flip side of The Wild Bunch, gentle and small human comedy replacing the panoramic apocalypse of the earlier film with automobile replacing the machine gun. There's a strong hint of Once Upon a Time in the West towards it as far as its grace notes goes and Peckinpah…
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Sam Peckinpah followed up The Wild Bunch with this somewhat bizarre mixture of western, slapstick comedy, philosophy and wistful reflection on the old west. The film gets off to a fairly typical start - a man is robbed and left in the middle of the desert with no water - before stumbling onto a spring in the middle of nowhere. From there the film meanders through various tones as our hero sets out to create a business from his discovery. Despite the tonal shifts, it hangs together well. Much of the comedy lands nicely and the lead character (well played by Jason Robards) is easy to like in spite of his flaws. It's clear that the main thrust driving the…
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cable hogue, left to die, prays for water three times and is delivered. this borrowed life is short, and taken too soon. a lizard in the first frames and a wolf in the last.
the warmest and most mysterious of peckinpah's films, and maybe the greatest; a handful of the best moments here would sustain almost any other career.
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the crew drinking away 700k during the shot kind of explains a lot. as if Russ Meyer directed a period piece western with heavy restrictions on the soft porn aspect. the pekinpahsh nihilism is teased in the beginning and after a small There will be Blood "are we getting a proper satire on capitalism?" interlude we're left with a western comedy of the lighter kind.
priests with boners, priests preventing boners, indiscreet zooms on the cleavage of Hildy the hooter - you got it all. the film more and more loses itself in such shenanigans and becomes a true goofball that apparently turned out to be Peckinpah's favorite. that man might be mocking the public with a big "why not?" here.
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I know when I’m stranded in the desert without a drop of water in sight, I hold lengthy, impassioned debates with my maker about how he’s screwed me over. I scream at the indignity of becoming an overcooked carcass for buzzards to feast on. I don’t have any rivals to gun down, or damsels to rescue… I’m just waiting for the ‘70s to tell me what the hell to do with this scenario!
Sam Peckinpah goes from bullet-riddled bodies bounding about in 1969’s The Wild Bunch to Jason Robards singing sentimental songs in 1970’s The Ballad of Cable Hogue. It’s such a hard left turn, but somehow it works. Robards’ titular character is the antithesis of John Wayne’s classic western toughs, like…
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Wieder so einer dieser Filme, den ich viel zu lange vor mir hergeschoben habe.
Der Sam kann auch anders, keine Gewaltorgien, obwohl auch hier gestorben wird, sondern eine einfühlsame, ungezwungene Ballade über den kauzigen Cable Hogue, durchzogen mit jeder Menge Witz, Slapstick, Poesie, Musik, Tragödie…….
Abgerechnet wird zum Schluss ist wohl ein unpassend passender Titel, denn nach Rache wird zwar getrachtet, ist aber jetzt nicht wirklich das Hauptthema des wohl verkanntesten Werkes des Meisters.
Man wird sich wohl einlassen müssen auf diese Art von Western, wenn man es schafft, wird man mit dem wohl ungewöhnlichsten Werk eines der ungewöhnlichsten Regisseure (der Kinolandschaft) belohnt.
Eine Entdeckung!
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An Old Testament story: Cable Hogue, emerging like Moses from four days in the wilderness, sets up a land of promise in a two-acre "cactus Eden." Two-fifty is all it takes—well, that and a hundred from a banker moved by Hogue's appeal for humanity: "I'm worth something ain't I?" Just one night of carousing with David Warner's highfalutin' faux-preacher ("If I cannot rouse heaven I intend to raise hell!"), for there's much to be done before the dying of the light—all this in accordance with the plainnest of principles: "We try the best we can. We all got our own ways of living." From there, Robards and Stevens join in one of the most disarming and tender of screen romances…
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The Ballad of Cable Hogue opens with Jason Robards, looking completely disheveled and down and out, being double crossed and left for dead in the barren desert. The next 15 minutes consists of him wandering the sands alone, speaking to himself under the guise of begging and pleading to a God he doesn't believe in. The credits slowly drip in atop split camera work. I could honestly have watched this for the full two hours.
Instead Cable's prayers are coincidentally answered in the form of a spring in the middle of a stagecoach route. From then it blossoms and dissolves into a bizarre solution of zany sex comedy, philosophical aimless rambling, musical interludes and simultaneously Peckinpah's most on the nose…
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As I’m watching it, each scene turns into a memory. Movies are fresh realities that happen in front of us, but at the same time can be a kind of nostalgia. I realized that from this work.
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butterfly mornings and wildflower afternoons, sleeping outside with your friend and looking at the stars, building a community from the ground up on your own terms, realizing today might be tough but it's all ok because one day, you might see her again.
cable hogue was a man from another era, whose time ran out. he worked hard, and had some fun along the way, making new friends, singing, and laughing. a preacher once said about him: he never went to church---he didn't need to. the desert was his cathedral.
