Teenager Ben Mockridge feels life in a Wild West farm town has nothing better to offer then horse-cart racing with other hicks, so he naively begs cattle company owner Frank Culpepper to engage him as youngest cowboy for a long cattle trail to a fort, his mother barely notices. Ben doesn’t even seem to get it when he’s told to report as ‘little Mary’ to the old cook, whose words cowboy is something you do only if you have nothing better gradually become clear. Instead of an exciting heroic macho life, it’s endless hard work, dumb chores and embarrassment, even getting literally caught with his pants down, robbed of his horse, witnessing unpunished crimes…
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A weary gunfighter attempts to settle down with a homestead family, but a smouldering settler and rancher conflict forces him to act.
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Three cowhands, between jobs, have the bad dumb luck to pitch night camp in the same valley as a cabin full of guys who just robbed a stagecoach and killed the guard. Come morning, a posse arrives, forms up along the ridge, and takes for granted that everyone down below is guilty–fit for either shooting to bits or hanging from a tree, whichever comes first. Precisely half of Ride in the Whirlwind’s 82 minutes is devoted to tapping the matter-of-fact, absurdist horror of that situation. In the remaining half, the two surviving cowpokes (Jack Nicholson and Cameron Mitchell) seek shelter at a farmhouse where they reluctantly threaten the farmer, accept breakfast from his wife, flirt with his daughter (Millie Perkins), play some checkers, and hope to remain undetected till nightfall.
A gang of cold-blooded outlaws narrowly escapes a blood-soaked bank robbery in a grimy frontier town. With a notorious bounty hunter hot on their trail, these nefarious criminals desperately need a place to hide out before night falls. Fate brings them to the home of the Tildons, a seemingly innocent family with two feisty daughters. As the men settle in, an impetuous game of cat and mouse plays out during the cold, black night. Come morning, nothing will ever be the same.
A Mexican-American sheriff must resort to violence against a powerful rancher in order to get just compensation for the pregnant Indian widow of a wrongly killed black man.
Western that starts when a man (Matt Dow) is mistaken as a train robber. After the town’s sheriff shoots the kid he’s riding with, Dow clears his name and ends up as the new sheriff. He romances a Swedish woman and settles in to a peaceful life only to find that the boy has a few secrets of his own.
While filing for a divorce, beautiful ex-stripper Roslyn Taber ends up meeting aging cowboy-turned-gambler Gay Langland and former World War II aviator Guido Racanelli. The two men instantly become infatuated with Roslyn and, on a whim, the three decide to move into Guido’s half-finished desert home together. When grizzled ex-rodeo rider Perce Howland arrives, the unlikely foursome strike up a business capturing wild horses.
While passing through the town of Bannock, a bunch of drunken cattlemen go overboard with their celebrating and accidentally kill an old man with a stray shot. They return home to Sabbath unaware of his death. Bannock lawman Jered Maddox later arrives there to arrest everyone involved on a charge of murder. Sabbath is run by land baron Vince Bronson, a benevolent despot, who, upon hearing of the death, offers restitution for the incident.
Lanky Fellow has a typical cynical SW like way to earn his living. He observes valuable transports of money or gold, but when they are robbed he doesn’t intervene, but follows the robbers and then brings the loot back to collect the insurance. When his “job” brings him in conflict with the notorious outlaw Gus Kenneback, he has personal reasons to protect the money as Kenneback was once responsible for the death of Lanky’s brother.