Ride the High Country 1962 123movies

Watch: Ride the High Country 1962 123movies, Full Movie Online – Aging ex-marshal Steve Judd is hired by a bank to transport a gold shipment through dangerous territory. He hires an old partner, Gil Westrum, and his young protege Heck to assist him. Steve doesn’t know, however, that Gil and Heck plan to steal the gold, with or without Steve’s help. On the trail, the three get involved in a young woman’s desire to escape first from her father, then from her fiance and his dangerously psychotic brothers..
Plot: 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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Ratings:

	7.4/10 Votes: 13,718
	89% | RottenTomatoes
	92/100 | MetaCritic
	N/A Votes: 173 Popularity: 9.432 | TMDB

Reviews:

Justified
It was goodbye to two stars from the golden age of Westerns and hello to a director who would help transform the genre into something bloodier, nastier, and truer. A skillful compromise of those visions, “Ride The High Country” presents a kind of crossroads that feels more like a destination, a perfect summing-up of the legend and the reality of the American West.

Steve Judd (Joel McCrea) is a weary old lawman trying to make ends meet as he nears the end of the road. To transport some gold from a mining town to a bank, he takes on the services of an old buddy, Gil Westrum (Randolph Scott). Westrum’s as sleek and angling as Judd is square, and has more on his mind than collecting $10 a day risking his neck guarding someone else’s money. While this remains unsettled, the pair gets mixed up with a woman (Mariette Hartley) who thinks she’s in love with a miner whose idea of a honeymoon means sharing the wealth with his hideous brothers.

Ask anyone with a glancing knowledge of films what kind of movies Sam Peckinpah made, and they will likely describe a movie very different from this. There’s some shooting, a little blood, and an unshaven Warren Oates, but otherwise “Ride The High Country” is a movie in the classic Western mold. There are some dissonances for Scott and McCrea’s old-time fans to sort through, like Scott’s ambiguous morality, but this is all-in-all the nicest movie Peckinpah ever made, decent characters set against an inspiring landscape, the kind of yarn John Ford or Anthony Mann would have delivered.

Not that everything is too black-and-white. The girl, having escaped her stern father and the stump farm where they lived, asks Judd at one point about right and wrong: “It isn’t that simple, is it?” “No, it isn’t,” Judd replies. “It should be, but it isn’t.”

McCrea is the center of this film, a pillar of virtue. He quotes the Bible, but it’s not clear he’s especially religious or just stoic in the classic tradition. When he talks about his simple desire “to enter my house justified,” he may have the Christian meaning in mind, or just the humanistic ideal of having been a good man when all is said and done. Nevertheless, there are intimations of a deeper truth in the redemption of Westrum and his unambiguous last line: “I’ll see you later.”

Peckinpah does present a bull-headed Christian zealot in R.G. Armstrong as the girl’s father, but he’s essentially decent, afraid of life, what it did to him and can do to her. Some see a suggestion of incest in their relationship, when she tells him he doesn’t want her with any man but him, but it’s more likely that’s her complaining about his being overprotective.

There’s a lot of humor here, too, much of it courtesy of Randolph Scott. Scott could be a stiff in other films; here he settles nicely into the role of a cut-up, like when he watches his young charge Heck get the tar beaten out of him twice without lifting a finger to help him. “Good fight, I enjoyed it,” Westrum chirps as the boy licks his wounds.

The film culminates in a good fight with the Hammonds, so ornery they jeer at Heck when he brings the girl to their doorstep and she assures them he was a gentleman: “How come? Something wrong with him?” It’s the one gunfight in the film, and though its one more than some Peckinpah films like “Junior Bonner” had, it’s another reason for the film sticking out as unusual in the director’s oeuvre.

But it’s a good kind of difference, for the most part, as Peckinpah finds his métier while paying tribute to those who came before him with the help of McCrea and Scott. Like its heroes, “Ride The High Country” moves a little slowly in parts, but watching it, you’ll likely agree with me the long journey is worth the ride.

Originality in abundance.
There hadn’t really been anything much like this Western on the screen before Pekinpah put it there. It’s not predictable, the way life is not predictable.

I guess there’s nothing unusual in the story of two aging gunfighters teaming up for a last job (within the law) with one (Scott) being a bit more relaxed in his morals than the other (McRea). It must be tough to transport a bag full of gold around without being tempted. And it isn’t unusual for a movie like this to have a handsome but inexperienced youngster (Starr) tagging along so that he can fall in love with the young woman who joins their merry group. So far it sounds a lot like something Randolph Scott might have made with Budd Boetticher a few years earlier.

But there the expectability just about ends. The acting by all is above par, especially Scott who, for the first time in human memory, is someone burdened with unethical impulses.

It’s the script and Pekinpah’s direction that make us aware of the fact that there is something new afoot in this ancient genre.

The dialog, for one thing, is full of colloquial felicities. Scott accuses McRae of “ironbound ethics.” And the two of them have a hilarious discursive conversation while McRae soaks his tired feet in a creek. Scott joins him and picks up one of McRae’s boots, which has a hole through the sole. The exchange is something like this. Scott: “I see you believe in ventilation.” McRae: “Those boots were made by Raoul in San Antonio. Special order. I had a hell of a time persuading him to put that hole in there.” Scott: “I remember Raoul. Good man. He believed that the boot should always cover the foot.” Neither actor cracks a smile while this absurd conversation is taking place. And it has absolutely nothing to do with the story that is unfolding.

There is another distinctly non-lyrical interlude. The three men — Scott, McRae, and Starr — deliver Hartley to her boyfriend in the mining settlement of Coarse Gold. What follows is a perversion of everything that was so amusing about “Seven Brides for Seven Brothers.” Not only does Hartley almost get raped pronto by her boy friend, but his four brothers also expect to share his bounty, and at the wedding dance (in Kate’s cathouse) they slaver over her and give her lengthy and disgusting smooches.

McRae and Scott manage to rescue her from the clutches of these libidinous maniacs and ride off with her, but they are followed by the five brothers and in the final shootout, McRae is mortally wounded and left to die. (In the last shot, as he dies, he rolls gently out of the frame and the camera does not follow him.) I think either I or the editor lost something because the first brother, who looks like an inbred geek, is referred to as dead before the shootout, but I don’t recall his being dispatched.

At one point, Scott tells McRae: “You know what a poor man’s clothes are? The ones on his back when they bury him. Is that all you want?” And McRae thinks for a moment and replies, “All I want is to enter my house justified.” This is a pretty good Western from a new talent.

Other Information:

Original Language en
Runtime 1 hr 34 min (94 min)
Budget 813000
Revenue 0
Status Released
Rated Approved
Genre Drama, Western
Director Sam Peckinpah
Writer N.B. Stone Jr., Sam Peckinpah, William Roberts
Actors Joel McCrea, Randolph Scott, Mariette Hartley
Country United States
Awards Nominated for 1 BAFTA Award2 wins & 2 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Westrex Recording System)
Aspect Ratio 2.35 : 1
Camera N/A
Laboratory Metrocolor, Culver City (CA), USA (color)
Film Length N/A
Negative Format 35 mm
Cinematographic Process CinemaScope (anamorphic)
Printed Film Format 35 mm