Rancho Bravo

This is dire. Without James Stewart, this flabby, far-too-long cattle yarn would be unwatchable. As it is, it's not far off. Stewart made a few of these 'modern' westerns for Universal in the mid 60's ("Shenandoah" springs to mind) and they are consistently shallow and unrealistic.

Two English beauties, Martha and her daughter Hilary, travel out to the American West in 1884 to sell their prize hornless bull. They meet up with Bulldog Burnett, a trusty cowpoke, who helps them move their bull to Texas. Various adventures befall them along the way.

The film wants to be a comedy action movie, but fails in both departments. The script is very weak and the improbabilities of the story are just too much to swallow.

Stewart plays Burnett, and manages to inject a bit of human interest into even this poorly-drawn character who has to utter some dreadful lines. Martha is played by Maureen O'Hara. She reacts beautifully and wordlessly when Bowen proposes marriage, but other than that she has nothing to do in the whole interminable film except look pretty and seem aloof. Juliet Mills is passable as the female ingenue Hilary, as is her male counterpart (Jamie, played by Don Galloway), but their characters are too flimsy to merit further attention. Jack Elam plays the bad guy Simons, as ludicrous a villain as exists anywhere on celluloid.

And now for the daffy parts. Burnett and the English ladies have camped for the night on the trail, but their camp is as bright as day, thanks to the Universal 'look'. Somebody takes a shot at Burnett, the bullet striking the coffee pot in his hand, but everyone decides to ignore it and turn in for the night! The notion that these two fragrant English roses would sleep on dirt is preposterous, but worse is to follow. The next morning, they are wearing crisp new outfits, both featuring dazzling white blouses - even though they have no luggage with them! Simons shoots his partner dead for no reason whatsoever - even though he is within his victims' earshot and risks ruining his own plan.

When Simons stampedes Jamie's herd, nobody notices him firing his gun or riding in among the cattle, waving a yellow scarf. When he robs the travellers, the obvious thing for him to do is to kill them, but he lets them go free. Before and after the dry gulch sequence, the group moves through lush pasture land. The dry gulch simply doesn't fit with the terrain (which is probably meant to be Oklahoma Territory). Brian Keith as Alexander Bowen parades the most awful Scottish accent since Brig O'Doon - and because he's Scottish, he plays the bagpipes, of course.

The scenes in the Bowen ranch yard and the blizzard sequence are very obviously filmed in a studio.

Verdict - Too long, too shallow ... and too bad they decided to film it at all.

Director Andrew V. McLaglen's "The Rare Breed" (1966) has a surprising amount of historical interest, both to students of the old west and to western genre film buffs. It is actually a fairly accurate (if fictionalized) account of the displacement of Longhorn cattle on the Texas range by intentional interbreeding with more conventional bulls (in this case a Hereford named Vindicator).

Just as interesting is the film's position as one of the early intentional parodies of the western genre. While less obvious than in "Cat Ballou" (1965), the self-reflexive elements and parody are there if you look close. The most obvious are Brian Keith's overplayed (almost expressionistic) Scotsman and McLaglen's juxtaposition of classic John Ford outdoor scenery with obvious sound stage shots-including matte paintings by Albert Whitlock. And McLaglen rounds out his cast with genre favorites Ben Johnson, Harry Carey Jr., and Jack Elam.

But "The Rare Breed's" real claim to fame is as the first "chick flick" western. It is likely to appeal more to women than men viewers as the story is told from the point of view of its heroine Hilary Price (Juliet Mills), who sets out with her parents to bring a small herd of cattle from Hertfordshire (England) to the American west. Unfortunately her father dies on the ocean voyage so Hilary and her mother Martha (Maureen O'Hara) are faced with the daunting task of completing what had been her father's dream.

Mills is wonderful in this role and it really suits her. She is a placid observer of the strange land in which she finds herself while her mother is almost savagely reactive. Yet Mills gets all the really good lines as Hilary injects a lot of wit and wry humor into the story. McLaglen gives real dimension to only two of the characters, Hilary and "Bulldog" Sam Burnett (Jimmy Stewart). Burnett is a cowhand who starts out to swindle the two women but ends up being completed by them; eventually becoming a father/husband replacement to Hilary and Martha respectively, as well as a complete believer in their mission to change the nature of the American cattle industry.

But Burnett has to come a long way to make this transition as he begins by calling the symbolically named Vindicator a muley bull (because it has no horns). His reaction does not get him off to a good start with the protective Hilary, who has raised Vindicator from a calf. The bull follows her around like a dog and is easily quieted with a verse from "God Save the Queen".

Entertaining but not riveting, this unique example of the genre is a nice change of pace. Unfortunately the scenes between Keith and O'Hara will make you think more of Disney's original "The Parent Trap" than the film you thought you were watching.

Then again, what do I know? I'm only a child.

Middle-aged cowboy James Stewart agrees to transport Maureen O'Hara's Hereford bull (the first in North America) to to it's new owner Brian Keith, while at the same time making an underhanded deal to deliver it to a rival cattleman. Things get complicated when O'Hara and her daughter take it upon themselves to accompany Stewart.

This light-hearted western is offbeat and original enough to provide some entertainment and Stewart is great as the reluctant champion of a new breed of bull, but the story just isn't as compelling as it should have been and sometimes pretty silly, especially Keith (under a mountain of hair!) as a backwards Scottish rancher.

Jack Elam and Ben Johnson make the most of their limited roles as a vicious saddle-tramp and Stewart's aging, crippled mentor.

I just saw bits of this film for the first time today and kept at it because all of the leads were some of my all time favorite actors. I can't speak for the quality of the film since I didn't see it all, but it seems apparent that no lesser light than James A. Michener not only saw it, but liked it a lot since the basic plot line about the great British bull being brought to America by an English widow and then dying in a record blizzard after leaving his stamp on a new generation of crossbreeds is used almost verbatim in "Centennial" which was published nine years after this film was released.

Anyway, what I saw I enjoyed. I can't not enjoy O'Hara, Stewart and Keith!!!

RELEASED IN 1966 and directed by Andrew V. McLaglen, "The Rare Breed" chronicles events in St. Louis and Texas in 1884-85 when an English woman (Maureen O'Hara) and her daughter (Juliet Mills) conscript a lanky cattleman (James Stewart) to try and get their hornless British bull to mate with the longhorns of Texas, but they have to deal with venal thugs (Jack Elam), a curmudgeon ranch mogul (Brian Keith) and the harshness of nature itself.

The film meshes drama with lighthearted amusement in the manner of a screwball Disney family comedy, "fun" brawls reminiscent of John Wayne Westerns of that era, dead-serious sequences and romance. I didn't feel this inconsistent tone marred the movie; after all, doesn't real life include all of these things? The exception would be the "fun" brawling scenes which, while lively, are not true to life. In real fights people get broken noses, black eyes, bruises and broken bones. Anyway, the cast is great, but I didn't find the drama that engaging, especially the entire last act. Furthermore, the indoor sets substituting for outdoors are obvious and smack of old-fashioned movies & TV Western fare of the time period.

About a third of the way in there's an exceptional stampede sequence that includes a heart-stopping on-set accident involving the wagon carrying Martha (O'Hara) and Hilary (Mills) ahead of the stampede. The stunt women were supposed to be thrown clear, but the wagon rolled over them. Thankfully, the dipping ground underneath the wagon allowed the stuntwomen, Stephanie Epper and Patty Elder, enough room to survive without being crushed, although they did experience minor wounds and shock. In the same sequence a young man is forced to try to run UP the canyon wall in stark terror as the charging cattle threaten.

THE FILM RUNS 97 minutes and was shot in Jamestown, Mecca, Coachella Valley, Mojave Desert and Universal Studios, California. WRITER: Ric Hardman.

GRADE: C