Os Cowboys

John Wayne led many a cattle drive, but there's something especially satisfying about this final turn on the trail, alongside ten young boys for what turns out to be a hardnosed yet winning salute to the Duke's legacy of manly comportment.

"It's not how you're buried, it's how they remember you," Wayne's Wil Andersen tells one of his charges, the half-breed Cimarron (A Martinez), and "The Cowboys" is a two-hour rumination on that theme, of how Andersen, a man whose hard-bitten ways cost him two sons, finds a sort of redemption with these boys who come to help him take his cattle 400 miles to Belle Fourche while the only menfolk are either off panning for gold or else aiming to get their fortune in seedier ways.

John Wayne in his post-Oscar years didn't have much to prove, and many of his movies from that time play today as little more than agreeable trips to the well. "The Cowboys" is different. Picking up on the rougher theme of post-"Wild Bunch" westerns, it presents a modern sensibility where people swear and bleed profusely when shot or punched. Wayne might seem out of place, yet he finds the right balance here between his characteristic latter-day gruff humorousness and the sterner stuff we remember from his classic turns in "Red River" and "The Searchers".

The key to Andersen are those dead sons he has buried out in his spread back home. "They went bad on me," is about all he can say on the matter. "Or I went bad on them. I can't figure it out." Seen through that prism, everything Andersen does with his young cowboys makes a lot of sense, right down to the famously grim finale with Bruce Dern, whose memorable "Long Hair" is one of the great Wayne-movie villains.

But there's a lot of joy in "The Cowboys", too. Another scene early on, just as classic, has Andersen deciding to give the boys a lesson with a wild mare, Crazy Alice, only to get taught a lesson in turn by these surprisingly spry youngsters, who each manage to prove themselves to Wil's wry chagrin.

"I hope I haven't ridden all the rough off her!" one offers as he hands back the reins.

"You'll do," Wil replies, about all the affection he gives or they want.

Then there's Jebediah Nightlinger, the cook and only other adult figure on the scene, who tries less hard than Wil to hide his enjoyment of the situation. Hard as it is to imagine "The Cowboys" without Wayne, it's harder to imagine it without Roscoe Lee Browne, whose every utterance has a quality of burnished bronze.

Director Mark Rydell finds the right tempo and look for his film, aided by John Williams' stirring score and Robert Surtees' camera work. Every shot has the quality of a glossy Louis L'Amour cover, majestic pines and grassy hills stretching out into infinity.

About the only thing keeping "The Cowboys" from classic status is an ending which, while satisfying, comes off very pat on reflection. Despite the long time we spend with them, many of the Cowboys themselves lack for individuality, an exception being Robert Carradine, who plays Slim the de facto leader of the kids, and is the real-life son of Wayne's "Stagecoach" co-star John Carradine.

"The Cowboys" wasn't Wayne's swansong, yet it's a stirring valedictory effort all the same, a chance to see an enduring screen legend at his late and glorious apex, showing a new generation, and generations yet unborn, a thing or two about getting it done.

Wil Andersen (John Wayne) is an aging rancher who traveled 30 miles that day and didn't find a single hand that could throw in with him…

Anse Petersen (Slim Pickens) suggests to his best friend to hire local teenagers as cowboys for his 400-mile cattle drive… So, in the morning the children came very early to put in for the job… Obviously, nobody of them has been on a cattle drive…

For a cook, Wil hires a black man, Jedediah Nightlinger (Roscoe Lee Browne), who asked to be paid $125 knowing he should be got flooded out, stampeded out, frozen out or scalped by wild Red Indians…

However, a group of rustlers led by Asa Watts (Bruce Dern), the man with the long hair, came looking for work… But they were lying … They were after Andersen's 1,500 head of cattle…

One day, Andersen knew that Watts and his gang have been paralleling him for the herd… He also knew as soon as it's dark they'll be coming in… He doesn't know how rough they'll get… But right now they think they're one man and a bunch of kids…

When Jedediah falls behind with a broken wheel on the chuck wagon, Asa makes his move for the herd, engaging Wil in vicious fight…

There is a funny scene when two of the children meet on the trail a traveling bordello madam led by Colleen Dewhurst… And a touching scene where all the boys steal a whiskey bottle and have a little party, discussing the various attributes of their cooker, and his pretty independent character…

Filled with exciting adventure, gentle amusement, visually stunning photography, but most importantly how to want to see these children growing up so quickly, "The Cowboys" stands simply as one of John Wayne's best Westerns

Obviously, John Wayne had a long and distinguished career in the movies. Of course, he was merely playing himself time after time. In this movie, that works wonderfully well.

He plays Wil Anderson, a man in his 60s with little else he can do but hire a classroom of boys to help with a cattle drive. This makes for a fun outing for anyone in any age group. Roscoe Lee Browne is well cast here. His scene with Colleen Dewhurst is very well played. Bruce Dern is great, too!

My son, who is a big fan of "Star Wars" and "Indiana Jones", pointed out the John Williams music in "The Cowboys"; it is very good indeed.

"The Cowboys" is my choice for the movie to introduce people to John Wayne. It definitely makes you want to see more! Out of four stars, I rate it: ***.5

I've always had a feeling that John Wayne had some kind of health crisis and deliberately chose The Cowboys to be his swan song film. When it didn't work out that way, he went on and did some more until The Shootist.

Ever since his Oscar in True Grit, Wayne began playing men of his own age in his films and a common thread seemed to be imparting values to the next generations whether they wanted them or not. You can see that readily in films like Rio Lobo, Big Jake, Chisum, The Train Robbers, and Cahill, U.s. Marshal. Most especially in The Shootist with Ron Howard as his pupil.

But in The Cowboys he had a mess of pupils. Wayne's a hardworking rancher whose hands have deserted him because of a rumored gold strike. He has to get his cattle to market, so out of desperation he hires a bunch pubescent and pre-pubescent youngsters from the town.

The trail drive is quite the lesson for these kids. They learn about life that it is about hard work, responsibility, and keeping your given word. Wayne gets a second chance at fatherhood, he didn't do such a good job of it with his own two sons. More like grandfatherhood at his age, but the kids learn well.

Along as a second role model is Roscoe Lee Browne. Possessor of one of the greatest speaking voices in the English speaking world, Browne is the first black man they've ever met. In fact one of the kids uses the "N" word when first meeting him, out of ignorance more than racism. Browne sets them straight by example more than preaching.

The oldest two kids, A Martinez and Robert Carradine, have gone on to some considerable adult careers which they are still enjoying. All the kids are a winning bunch however.

A couple of the Duke's later westerns like The Train Robbers and Cahill I found to be flawed. Not so here. Director Mark Rydell keeps this one going at a good pace and does wonders with his cast of all ages.

...In which an aging man is forced to hire boys to get his cattle to market. The environment poses many difficult problems, especially for the boys who are trying to grow up and for Wil Andersen (Mr. Wayne's character) who is trying to protect the boys, especially from a group of low-lifes who want to steal the cattle. Mr. Wayne is at his very best, because he pulls no punches and the boys are able to convey their awkwardness and confusion. The ending, which is highly unexpected, is, in its' way, perfection. This film should be both famous and celebrated - it's an unusual achievement for a Western. But then this one is far more than a Western.