Tag: The Missouri Breaks

Looking back on the cinematic western, by the mid-1970s it was definitely time to water the horses. For much of the preceding decade, most of the important statements in the genre had gone elegiac, revisionist, spaghetti, or some combination of the three.

With the release of “Star Wars” in 1977, elements of the western survived, but beyond a handful of exceptions, the western, like the swashbuckler, had moved to outer space.

Though John Williams became inextricably linked with the intergalactic spectacle, it is little known that he, in common with most of his contemporaries, scored a number of actual, old school westerns. This week on “Picture Perfect,” we’ll listen to music from four of them.

Westerns don’t get much more primal than when revenge becomes a motivator. Mark Rydell’s “The Cowboys” (1972), one of the better of John Wayne’s later films, draws blood when Bruce Dern commits an unspeakable crime against the American West. If you’re a collector of Boston Pops records, you may be familiar with the rousing overture Williams assembled from his score.

Before he slipped into a lazy pattern of inviting his celebrity friends to goof off in front of the camera and then cashing the paycheck, Burt Reynolds made a number of effective dramatic films. In “The Man Who Loved Cat Dancing” (1973), Reynolds plays a laconic train robber haunted by a secret in his past, who finds a second chance with Sarah Miles, the wife of one of his pursuers, who rides along with his gang. Williams provided a really groovy opening number for this one.

Despite the how-could-it-possibly-miss teaming of Marlon Brando and Jack Nicholson – with “Bonnie and Clyde” director Arthur Penn at the helm – “The Missouri Breaks” (1976) bombed with both critics and audiences. (If you ever wanted to see Brando in drag, then this is the film for you.) Williams took a different approach with this one, providing a more intimate, if off-kilter score, tinged with jazz and pop elements, and featuring guitar, banjo, harmonica, honky tonk piano, electric harpsichord, etc.

“The Rare Breed” (1966), on the other hand, is straight-down-the-middle, with James Stewart and Maureen O’Hara introducing Hereford cattle to the American west. Brian Keith, as Stewart’s rival, sports a red beard and a Scottish burr, for some reason. Williams, however, is wholly himself, providing an uplifting, wide-open main theme. Would that film composers still wrote like this.

Saddle up for selections from John Williams westerns this week, on “Picture Perfect,” music for the movies, this Saturday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

PHOTOS: (clockwise from left) Reynolds loves Cat Dancing; Brando in touch with his feminine side; the Duke; and an unrecognizable Brian Keith

Looking back on the cinematic western, by the mid-1970s it was definitely time to water the horses. For much of the preceding decade, most of the important statements in the genre had gone elegiac, revisionist, spaghetti, or some combination of the three.

With the release of “Star Wars” in 1977, elements of the western survived, but beyond a handful of exceptions, the western, like the swashbuckler, had moved to outer space.

Though John Williams became inextricably linked with the intergalactic spectacle, it is little known that he, like most of his contemporaries, scored a number of actual, old school westerns. This week on “Picture Perfect,” we’ll listen to music from four of them.

Westerns don’t get much more primal than where revenge is concerned. Mark Rydell’s “The Cowboys” (1972), one of the better of John Wayne’s later films, draws blood when Bruce Dern commits an unspeakable crime against the American West. If you’re a collector of Boston Pops records, you may be familiar with the rousing overture Williams assembled from his score.

Before his career devolved into an excuse to bring together his celebrity friends to goof off in front of the camera and then cash the paycheck, Burt Reynolds made a number of effective dramatic films. In “The Man Who Loved Cat Dancing” (1973), Reynolds plays a laconic train robber haunted by something in his past, who finds a second chance with Sarah Miles, the wife of one of his pursuers, who rides along with his gang. Williams provided a really groovy opening number for this one.

Despite the how-could-it-possibly-miss teaming of Marlon Brando and Jack Nicholson – with “Bonnie and Clyde” director Arthur Penn at the helm – “The Missouri Breaks” (1976) bombed with both critics and audiences. (If you ever wanted to see Brando in drag, then this is the film for you.) Williams took a different approach with this one, providing a more intimate, if off-kilter score, tinged with jazz and pop elements, and featuring guitar, banjo, harmonica, honky tonk piano, electric harpsichord, etc.

“The Rare Breed” (1966), on the other hand, is straight-down-the-middle, with James Stewart and Maureen O’Hara introducing Hereford cattle to the American west. Brian Keith, as Stewart’s rival, sports a red beard and a Scottish burr, for some reason. Williams, however, is wholly himself, providing an uplifting, wide-open main theme. Would that film composers still wrote like this…

Join me for an hour of Williams Westerns this week, on “Picture Perfect,” this Friday evening at 6 EDT, on WWFM – The Classical Network and wwfm.org.

PHOTOS: (clockwise from left) Reynolds loves Cat Dancing; Brando in touch with his feminine side; the Duke; and an unrecognizable Brian Keith

Looking back on the cinematic western, by the mid-1970s it was definitely time to water the horses. For much of the preceding decade, most of the important statements in the genre had gone elegiac, revisionist, spaghetti, or some combination of the three.

With the release of “Star Wars” in 1977, elements of the western survived, but beyond a handful of exceptions, the western, like the swashbuckler, had moved to outer space.

Though John Williams became inextricably linked with the intergalactic spectacle, it is little known that he, like most of his contemporaries, scored a number of actual, old school westerns. This week on “Picture Perfect,” we’ll listen to music from four of them.

Westerns don’t become much more primal than when revenge is concerned. Mark Rydell’s “The Cowboys” (1972), one of the better of John Wayne’s later films, draws blood when Bruce Dern commits an unspeakable crime against the American West. If you’re a collector of Boston Pops records, you may be familiar with the rousing overture Williams assembled from his score.

Before his career devolved into an excuse to bring together his celebrity friends to goof off in front of the camera and then cash the paycheck, Burt Reynolds made a number of effective dramatic films. In “The Man Who Loved Cat Dancing” (1973), Reynolds plays a laconic train robber haunted by something in his past, who finds a second chance with Sarah Miles, the wife of one of his pursuers, who rides along with his gang. Williams provided a really groovy opening number for this one.

Despite the how-could-it-possibly-miss teaming of Marlon Brando and Jack Nicholson – with “Bonnie and Clyde” director Arthur Penn at the helm – “The Missouri Breaks” (1976) bombed with both critics and audiences. (If you ever wanted to see Brando in drag, then this is the film for you.) Williams took a different approach with this one, providing a more intimate, if off-kilter score, tinged with jazz and pop elements, and featuring guitar, banjo, harmonica, honky tonk piano, electric harpsichord, etc.

“The Rare Breed” (1966), on the other hand, is straight-down-the-middle, with James Stewart and Maureen O’Hara introducing Hereford cattle to the American west. Brian Keith, as Stewart’s rival, sports a red beard and a Scottish burr, for some reason. Williams, however, is wholly himself, providing an uplifting, wide-open main theme. Would that film composers still wrote like this…

Join me for an hour of Williams Westerns this week, on “Picture Perfect,” this Friday evening at 6; or listen to it later as a webcast, at http://www.wwfm.org.

PHOTOS: (clockwise from left) Reynolds loves Cat Dancing; Brando in touch with his feminine side; the Duke; and an unrecognizable Brian Keith