Un nommé Cable Hogue

This classic Western deal with Cable Hogue (Jason Robards) a roguish hustler who in search of good life discovers water and gets property some lands placed on a desert in remote part of the Old West . After getting its register in the Land Office , Cable meets a whore (Stella Stevens) and falls in love with her . Cable along with the prostitute and a lecherous priest (David Warner) care his stopover as resort-lodging of a line stage. Hogue's Castle was a real-life hotel which was acquired in Bishop, California. It was packed-up and transported along with its own furniture to its shooting location across the border in Nevada.

Interesting story about a loner who turns into successful entrepreneur is deliberately paced by Sam Peckinpah and the production base for the film was at Echo Bay, Nevada . A twilight story ,¨Ballad of Cable Hogue¨ is a director Sam Peckinpah's lovely effort, feeling look at the world of the Western. Jason Robards , engagingly easygoing but obstinate , is the title character, a drifter who strives to preserve his values in an often harsh modern world . Robards turns a magnificent acting as a hustler who is searching in a changing world for values that have long time disappeared . He also must deal with his two enemies well played by usual Peckinpah couple, L.Q. Jones and Strother Martin , and a lovely whore wonderfully performed by Stella Stevens in his best role ever acted . Sam Peckinpah started work on this film almost immediately after finishing work on the landmark ¨Wild bunch¨ that is why Strother Martin and L.Q. Jones were cast in similar roles in both films . David Warner is particularly fine as the raunchy priest and in his relationship to Jason Robards strike real sparks. Furthermore, it contains an emotive score by the master Jerry Goldsmith, adding various sensitive country-western songs . Colorful and glimmer cinematography by Lucien Ballard, Peckinpah's usual, make this one a winner. An agreeable western with marvelous interpretations and exciting , enjoyable images including split-frames and fast-motion . This outstanding motion picture is stunningly directed by Sam Peckinpah, creating a true classic . Restored and reissued various times with diverse running . ¨The Ballad of Cable Hogue ¨ is a real must see for fans of the genre . This is a much quieter movie than habitual from ¨Cross of Iron¨, ¨Straw dogs¨, ¨The getaway¨, ¨Wild bunch¨ , ¨Major Dundee¨ director Sam Peckinpah who has always a deft eye for period detail . Rating : Above average, well worth watching .

In direct response to the controversy which erupted over the unprecedented violence and gritty realism of The Wild Bunch, Sam Peckinpah did what many of the greatest American filmmakers have done over the years. His next project would end up being almost intentionally counter to the previous film.

The result was The Ballad of Cable Hogue, a small-scale, intimate tale that is equal parts a nostalgic look back to the Old West and a tribute to the kind of man capable of surviving and thriving in such an environment. Jason Robards is touching and firm as the title character, left for dead in the prologue but able to fight through his misfortunes and create his own oasis. Along the way, he encounters a most unusual and shifty man of the cloth and a prostitute with a heart of gold. Stella Stevens is really wonderful as Hildy, one of the best examples of this most ancient of Hollywood screenplay clichés. Her romance with Hogue is both sincere and sad as Peckinpah uses this as a template for how the romantic West quickly found its way into decline and obsolescence.

Peckinpah may have gotten a lot of flack for The Wild Bunch but this film received almost just as much criticism, ironically for being almost exactly not what he had come to be known for. However, some forty years later, Peckinpah's true vision of men unable to conform to the regularities of society shines through. Gorgeous photography, solid acting, a beautiful score and themes of survival and memory point to this as one of the most brutal Western director's gentlest and personal triumphs.

Peckinpah followed up his masterpiece, "The Wild Bunch," which featured slow-motion violence, with this gentle comedy western featuring fast-motion comedy. Robards is wonderful in the title role, a good-natured loser who hits upon a goldmine by stumbling upon a water spring in the desert. Stevens looks hot and has one of her best roles as a hooker with a heart of gold. The great supporting cast includes Martin and Jones, who seem to have picked up right where they left off in "The Wild Bunch." While enjoyable, it is perhaps a little too low-key to sustain a running time of two hours, and the ending is rather contrived. The soundtrack includes a couple of tuneful songs.

"The Ballad of Cable Hogue", when first released in 1970, may have caught the viewing public asleep. But, over the years, people have seen this film for what it truly is--a tribute by director Sam Peckinpah to the passing away of the old west, and a brilliant performance turned in by Jason Robards as a desert hobo who finally awakens to his need for touching base with the human race, ever so often.

Cable is left out in the desert by two comrades, Bowen and Taggart, to make his own way, or perish trying, as they head back to civilization. Hogue vows to catch up to them, but first, he has to find water, which he does, then establish a business for the stage line, which he is able to do, and show a profit. All this happens, and after several years of waiting, the two former friends do happen onto his way station, and a touch of revenge is extracted by Cable upon the two who left him in the desert.

This film has some remarkable elements; a great supporting cast led by Stella Stevens, playing Hildy, David Warner portrays a lecherous preacher who becomes Hogue's partner in the desert, and Strother Martin and L. Q. Jones add the touch of villiany this film needed. Also, the musical background will stay with the viewer long after the final credits have rolled. This movie is a fantastic portrayal of the fading era of the west, and Peckinpah left the public with a classic. 9/10, easily.

There was always far more to Sam Peckinpah than just bullets, bloodbaths, and squibs. "Bloody Sam", as he was so often called, was also a mercurial and complicated director who could quite easily master the fine art of congenial character studies as he could the dark and violent side of Man. Case in point is his 1970 western THE BALLAD OF CABLE HOGUE. Alongside his 1972 contemporary western JUNIOR BONNER, BALLAD is Peckinpah at his most relaxed, as well as his most overtly comic. Due to typical studio finagling, BALLAD was far from a hit when it was released in May 1970; but it has since then attained a better place in the western pantheon.

Jason Robards stars in the title role, a desert rat left to fend for himself after his two unscrupulous partners (the always-reliable Strother Martin and L.Q. Jones) abandon him without any water out on the Nevada desert. Vowing revenge one day against them, he stumbles through the desert for several days; and just when he's near the end of his rope, in the middle of a sandstorm, he comes upon water--in a place it isn't supposed to be. The waterhole becomes his salvation, and eventually a money-making enterprise, being situated along a heavily traveled stagecoach route. Into his life come a sex-starved preacher (David Warner) and a small-town prostitute (Stella Stevens) bound for New Orleans. And yet, for all the companionship they provide and all the money he gets from the water, he still can't stop thinking about getting even with Martin and Jones--a fact that eats at him and makes him vindictive, even towards Stevens and Warner.

Stuck as it was between THE WILD BUNCH and STRAW DOGS in the Peckinpah film canon, THE BALLAD OF CABLE HOGUE was largely considered by some to be a minor film, seeing as how it had next to no violence to speak of (which makes the 'R' rating it has a bit much today--'PG-13' would be more like it). But it showed that Peckinpah cared as much for characters as he did for content, a fact that holds true for all of his best movies but which so often got set aside because so many critics focused on the violence. The musical interludes don't necessarily catch on very well, but they are the only (minor) flaw to this congenial mix of comedy and drama in a sagebrush setting. Robards does his usual good job as the grizzled desert rat; Stevens scores as the love he really can't have; and Warner's performance as the lecherous preacher Joshua is incredible. Other Peckinpah regulars like R.G. Armstrong and Slim Pickens provide the usual great support; and the period score by Jerry Goldsmith, and Lucien Ballard's fine cinematography top things off.

THE BALLAD OF CABLE HOGUE is a film in need of revival, both for Peckinpah cultists in particular and indeed Western film fans in general. It proved that even a troublesome Hollywood infant terrible like Sam Peckinpah could be congenial when given the right material.