When You Comin' Back, Red Ryder

I think this is a great movie. I've watched it over and over and it still grips my attention. I have a CENSORED copy that I made when it showed on TV but I have been searching for years for an UNCENSORED copy. If anyone knows of where I can find one, please, leave a note. I have not seen it on any of the cable movie channels. If anyone has any idea of how to obtain a copy, please leave a message or an email address and I will contact you. Thanks! The movie is psychologically tense but there is also abundant humor. I especially love the line when asked by the border patrol if he had anything to declare he said something like "just a couple of bottles of wine and a considerable amount of cocaine in my sock". This was so astonishing because it was guaranteed to get him searched and he was indeed smuggling drugs across the border. He was just really off the wall nuts. If you ever get a chance to see this movie, do it, but first leave me a note so I can also watch it!

This unique psychological thriller is a decent adaptation of Mark Medoff's brilliant play in which a psychopathic Viet-Nam vet holds a diverse group of individuals hostage in an isolated New Mexico diner in 1968. He then slowly exposes each of the their fears, faults, desires and ulterior motives while challenging American ideals, morals and heroism in transition.

This rarely seen film's box office was marred its long title, difficult to market subject matter and lack of well-known stars. However, each of the half dozen or so actors turn in brilliant performances as their fascades are slowly torn down by the vet (played by former child evangelist, Marjoe Gortner) whose intuition and captivating rants are exceeded only by his intimidating demeanor, and mind-blowing innuendo - the crux of which is born upon Red whose James Dean persona makes him an easy target considering the timeframe.

Comparatively speaking, this film can best be be described as a darker, grown up version of "The Breakfast Club" although much more fascinating and thought-provoking.

Gortner's character is smarter and tougher than anyone else in the diner. In an experiment in depravity, he decides to see how far he can humiliate and bully people before they stand up to him--if they do at all. He uses his worldliness and intelligence to insult them in ways that they might not detect, or pretend not to notice. When he learns that a young man bears the nickname Red Ryder, he sets out to show the banality and hypocrisy of American culture.

It's an anti-Western: the antagonist, a Vietnam veteran, finds that America is not the home of the brave, that perhaps the free and heroic spirit embodied in the popular conception of the Old West has vanished--or has it?

While the character is reminiscent of *Blue Velvet*'s Frank Booth (played by Dennis Hopper), *Red Ryder* is the superior film. Its predator is more comprehensive, realistic, and transparent. Booth, like many of Lynch's characters, is ultimately a cipher, and therefore uninteresting.

I first saw this film when I was fifteen. Again it's cover appealed to me as well as it's story. I bought the video at the end of that year and watched it again and again as if I had an addiction. I can't believe some of the really negative reviews this movies got. People have labelled it "Trash" or given it nothing. But we're all our own critic, it's our right just like democracy. We have an embittered ex Vietnam vet, played with utter brilliance by evangelist turned actor, Marjoe Gortner who really found he's calling. When you see his performance, you'll see why. We see a naked Candy Clark, washing herself down in a stream, and we see stranger Gortner, watching approvingly through a set of reflecting shades, standing from a mountain top high above. In this first forty minutes that succeeds, we see life through the lives of some quite pathetic types, in this small Texas town that almost ceases to exist, we have Gortner who's pushed his van (no help from the police) into the gas station/cafe/motel. This cafe's frontage holds a lot of history and provides a great location setting, that's memorable, where inside there's even more history, with it's black and white checkered floors and old coffee taps. From here till the end of the movie is the real meaty heart of it. Marjoe creates trouble the moment he and his girl, walk through the louver doors, his facetious manner which itself is a little frightening. What starts from here becomes a claustrophobic nightmare of intimidation, where almost the rest of film takes place in the diner. Gortner begins his own sick game of vengeance, especially towards a rich couple, (Hal Linden, and Lee Grant, superb in this) staying in the back motel of this cafe, Grant, a gifted violinist, who becomes the worst victim of humiliation here, when exposed from the waste up. The tension mounts when Linden tries to defy Gortner and gets shot in the arms for his troubles, so he's not going nowhere. Then low and behold we intercut to a church scene of singing townfolk. Why? So now we have a Key Largo sort of situation, the diners now hostages, Gortner making them do some really out there s..t as seen mostly in role playing, a really interesting angle here. Wannabe tough guy, Peter Firth who's name is of the title, is involved greatly in this, where Gortner brings out this boy's real inner and killer self as seen later, where Gortner grandly states that he really is a chicken s..t. Firth delivers an amazing performance, the second best, with a first rate American accent, you'd truly think was ligit. He's aged amazingly as compared to his role in Eqqus only a few years earlier. He so much wants to vacate this town with a dream that comes true at the end, as he becomes the hero of our torrid violent tale. The movie really builds up to an intensity, that's terrifyingly real in it's last twenty minutes, that ends with a classic showdown in these sandhills. The exterior surrounds of this movie are superbly chosen, one pre cafeteria scene with Gortner in his van, head sticking out the sun roof, as his girl blazes it along, playing to a stones track, rules. Gortner is given a lot of awesome and thought provoking dialogue, funny and shocking, the makings of sheer writing brilliance which he exorcises through a brilliant performance, one again, I stress, must be witnessed. Pat Hingle as the old crippled attendant, and Stephanie Farracy as a fat ugly duckling, the only female waitress here are two examples of pathetic types, they convince us of so well. I love the wide Texan scenic shot of Firth walking to his trailer, where he and his poor suffering mother live. She's the prey of men who just use her for you know what, including the local copper who's heart is as big as his ego. Her latest flame, has taken off with her car, so she too is going nowhere. I guess the really sad thing about this tale, is at the end of it, where Farracy and Firth go driving off into the dust covered distance, the remainder of these pathetic types just go on about their business as usual. And that's what's really sad.

A greasy diner at the apex of a one-horse New Mexico town is the primary setting for one of the most unfairly critically savaged movies of the 1970s. Within this diner, a dangerously impetuous drifter reeling with post-'Nam hostilities(Marjoe Gortner)and his acquiescent, unassuming girlfriend(Candy Clark)subdue a number of people at gunpoint, and proceed to emotionally and physically terrorize them.

A raw and disconcerting rural American nightmare, RED RYDER was a target for much critical assault upon its initial theatrical release. While its certainly not without its peccadilloes(the supine staginess of its exposition, for instance), it does impart potent moments of nerve-rattling discomposure, and puts forth some penetrating and incisive character studies which are dramatically vitalized by an able cast.

All things considered, this is a blemished film which warrants reinvestigation, and deserves some long-withheld acknowledgments.

6/10.