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Reviews

My all time favorite western!! I remember watching this movie with my dad, and now that I'm an adult, I own the DVD and bust it out whenever I'm in the mood to see the good guy win!! The first gun I ever bought was a lever-action Winchester because I wanted one after watching this movie!! Do yourself a favor and watch this movie!

"Winchester '73" is a western which is so good that even people who don't normally care for westerns would enjoy it. The story is unusual (the passage of a coveted firearm from one person to another as the story progresses), the cast star-studded (a young Rock Hudson and Tony Curtis are among those with small roles), and the plot fast-moving (it was one of several collaborations between actor James Stewart and director Anthony Mann that turned out a series of superior films). The commentary with Stewart also covers other facets and films of his career and, for film historians, is probably worth the price of the DVD all by itself. Will Geer's particular take on the character of Wyatt Earp is not to be missed, nor is Dan Duryea's pscho gunfighter, Waco Johnny Dean. This is simply a great picture from the '50s, when they knew how to tell an exciting story.

In the 50s, James Stewart made five fine westerns with director Anthony Mann. The others in this series were: "Bend of the River," "The Man from Laramie," "The Naked Spur," and "The Far Country." Not quite in the same league as the best of Budd Boetticher's much lower-budgeted Randolph Scott classics, but Mann's films are now considered western classics that helped revive the popularity of westerns as a film genre. But these Stewart starring cowboy tales are even more famous in Hollywood for changing the way it does business. Stewart gambled on hardly any money up front in exchange for a share of the studio's take. He got rich from this shrewd business move. He trusted his instincts to pick a great script and work with a director who understood story and knew how to deliver a final product that people would eagerly pay to see. Set in 1876, Lin McAdam (Stewart), on his way to compete in a sharp-shooting contest on the 4th of July with his prized repeating rifle, a Winchester model 1973, gets his gun stolen and tracks it down. The story is simple but the plot is complex with lots of action, twists and surprises. Stewart is terrific as a single-minded determined man committed to risk all to get his beloved gun. This very American movie resonates on many levels, but none more so that in Stewart's uncanny skill in conveying the ineffable core of what it means to believe in freedom and justice and the right of a man to own a gun. And why it matters. Stewart was in the best sense of the word an all-American on screen and off. Well-liked in Hollywood, her served in WW II and was widely known for treating all the people on movie sets as equals. And friendly to fans as well. He was humble, self-effacing and somehow authentic. So like the men he often played on screen. I got to know Stewart briefly and looked forward to spending my lunch hour on the set with him when he was on break from shooting "Fools Parade." Stewart was an avid wildlife photographer. I had some recent experiences shooting (with a camera) animals in Africa and he was about to go on a safari with his wife and daughters. He talked about his new Nikon camera and wanted to not be hampered with a lot of equipment. We talked about lenses and the real dangers of being in the wild. He had strong feeling about protecting wild animals before it became the politically correct thing to do. He said he would never go on a hunting safari, only a photo one. I got the impression he was a gun owner, strong second amendment supporter but would only shoot humans in self-defense or to protect his country. I liked him a lot in the brief time we spent together and wished I had asked him more about the movies he made. Watching him act, I don't think I ever saw anyone who did it with such effortless grace. He intuitively understood the character he was playing and you could actually see the subtle changes in his face and body language and hear the new tone of his voice when the director shouted "action" and then witness it evaporate when the director said "cut." It was as if Stewart was possessed, but in a very good way. If you get a chance to see "Winchester '73," you'll see great American who loves his gun as much as his life. And you will understand what's at stake in this organic relationship that shaped a nation and still does.

All for the love of a one of its kind,Winchester rifle,patented 1873,the kind of gun every kid dreams of,and will set the tone for this one of a kind western,starring Jimmy Stewart,Shelly Winters and Dan Duryea,directed by the legendary Anthony Mann. The film starts off with a bang,like the races,as the town's best known marksmen shoot it out to the end for the possession of this highly prized firearm which is passed down from hand to hand until the rightful owner takes the trophy home. There's no slacking in the acting department in this one,Shelly Winters gives an outstanding performance,as so does Dan Duryea as his usual ruthless character,and James Stewart is right on the top of his game,all featured in this motion picture worthy of viewing time and time again,a credit to the western genre,Winchester '73 is featured in black and white.

Being able to find a unique gift like the movie Winchester 73 is very important to me. I happen to give my brother a birthday gift every year that has his birthday+1 in it. I have been doing this for many years. Hence when I searched the number 73 (as he really only is 72) I was delighted to come up with Winchester 73 because not only did it provide the unique gift but he is also a western movie buff. The gift was perfect

Reviews

The movie "The Villain" falls into a special category for movies. You may think that this is a satire. NO! You may think that this is a parody. NO! It isn't a regular comedy either. It is actually a live action remake of one of the most loved cartoons in Television History. Look Close. Behold! the "Coyote & The Roadrunner." It's so silly that it is good. Lots of people really like it. I Do!

We understand this movie was written by stunt men for stunt men, and it certainly shows what they can do. We enjoyed it very much, except for the last scene, which feels like they ran out of dialogue.

The movie is as great as it was when it first came out. To see Ann-Margret trying to seduce clueless Arnold Schwarzenneger and Kirk Douglas mirror the Roadrunner can't be beat for entertainment.

all the actors do a awesome job, a must see. The horse is well trained too. This movie is not a "Western."

As the Wikipedia description says with 100% accuracy, The Villain is a loony toons cartoon brought to life with Kirk Douglas laying elaborate diabolical plans that back-fire a la Wiley Coyote. (The loony toons theme music even plays at the end of the film.) Schwarzenegger plays the naive and inexperienced do-gooder that he was to reprise later in Twins, and Ann-Margaret plays a seductress. All parties turn in performances appropriate to the roles written for them. The best character and funniest acting is Douglas' horse, Whiskey. Not a lot of laughs, although I did get the giggles over the faux native name "Anxious Beaver." And there is an unintentionally hilarious story that Schwarzenegger (HS) tells Ann-Margaret (CJ). I have transcribed it below. What makes it so funny is the delivery. Schwarzenegger does act, he just recounts this anecdote in the exact same manner as he recounts anecdotes during interviews in Pumping Iron. If you know what I'm talking about, you can see how this comes off: HS: I saw a ho bunch of crazy hoses running down dah main street of dah town. And so I finally realized that, uh, these were runaways. And, uh, you know, so I jumped on my hose, and I chased them down dah street. As I ran after them, it was crazy. Their hooves were beating on the ground. They were going faster and faster. I was getting faster and faster catching up with them. And the problem really was that there were children, and women, and old men in danger on the street, you know. And I kept going faster, and it was really a dangerous situation, you know, and I tried to save them. CJ: So you risked your life to try to stop them? HS: Yeah, I mean, uh, I do this every day. I try to do the right thing, you know, and uh, uh... CJ: Oh, how wonderful! HS: So I kept running and running after them and finally I did catch up with them. If you are tempted to try this movie, don't read any other descriptions of it, especially the Wikipedia entry, as there is only one plot twist, and it can get spoiled easily.

Reviews

Very good service. I ordered a new DVD (The Comenchores") and it arrived sealed and brand new just as promised. Thank you,Vivian

Other than "Rio Bravo" and "El Dorado," "The Comancheros" is my favorite Wayne western. I first saw it in the movies with my father when I was eleven. I loved it then and I love it now: it is incredibly entertaining from start to finish. The basic premise is that Texas Ranger Wayne must team up with a man he was formerly sent to arrest (Stuart Whitman) to infiltrate a small army of renegades selling guns to the indians. Theres the plot. But there is so much more to this film than that. The dialogue is some of the most entertaining and amusing in any Wayne filme. It is hard to believe that it was written by Wayne crony James Edward Grant, the same man who wrote the rather ponderous script for Wayne's "The Alamo" the year before. The dialogue in this film is priceless and has me chuckling continuously. The cast is excellent. Wayne and Stuart Whitman work wonderfully together in this film, you get the impression that they got along well. (They would appear together to a lesser extent a year later in "The Longest Day.") Ina Balin is very attractive as Whitman's love interest who just happens to be the daughter of Comanchero leader Nehemiah Persoff. Michael Ansara is predictibly nasty as Persoff's number one stooge. Others in the cast include Wayne's friend Bruce Cabot as the Texas Ranger Captain, Joan O'Brien (who appeared with the Duke the year before in "The Alamo,") as the widow the Duke is in love with, Richard Devon as a comanchero with more loyalty to Balin, than her father and Wayne's son Patrick as a young Texas Ranger. And then theres Lee Marvin...On the audio-commentary of "The Man Who Shot Liberty Valance," it is mentioned that John Ford chose Marvin for the evil Liberty after seeing him as the obnoxious Tully Crowe in this film the year before, the charcters are very much alike. While posing as a gunrunner trying to infiltate the comancheros, Wayne is forced to deal with the totally dispicable Crowe. All does not end well when the Duke is forced to dispatch him after Crowe draws on him after a bad night at cards. (I love the evil manner in which Marvin, after acting like a drunken lout, tells Wayne that "I'm only as drunk as I want to be." It really doesn't help him in the end anyway.) This film has some wonderful action scenes. The end scene with a large force of rifle-toting Rangers on horseback taking on whats left of the comancheros after Wayne and friends have created a great deal of havoc with a wagon and some dynamite is extremely exciting. The terrific Elmer Bernstein score is one of my favorites. But, once again, to me the thing that puts this above so many others in terms of entertainment is the wonderful dialogue and the growing respect and friendship between Wayne's Texas Ranger Jake Cutter and Whitman's gambler turned fugitive turned Texas Ranger, Paul Regret. The is an absolutely wonderful film and a great western. Unfortunately the DVD has very few extras other than the trailer and a "movie tone news" segment regarding the film.

OK, let's get the worst stuff out of the way first: if historical accuracy is of even the slightest importance to you, you're going to have some problems with this 1961 entry starring John Wayne as Texas Rangers Captain Jake ("Big Jake") Cutler, on a mission to retrieve a man for murder and get him extradited to Louisiana in 1843. First of all, the guns are all wrong; now I'm not the kind of guy to notice this stuff or keep up with it generally, but even I knew that repeating rifles and Colt Peacemakers were post-Civil War weapons. Second of all, the action takes place between New Orleans and Galveston - but the terrain has nothing to do with what that area actually looks like. There are mentions made of prisons that didn't exist in 1843; Cutter and other Marshalls wear Ranger badges that didn't exist until decades later. And on and on. Seems to me the film could have been set in the mid-1870s when the actual Comanche was going on, without changing too much else, but...whatever. I mention all this not to be picky so much as to let you know that this is basically a fun western that plays fast and loose with facts, geography, and sometimes common sense. If you can deal with all of that, you should have some fun with it, as it's one of Wayne's better westerns not directed by John Ford or Howard Hawks. Famed studio craftsman and jack-of-all trades Michael Curtiz is in fact responsible for most of the film and is the only credited director, though Wayne apparently directed a fair chunk of the film uncredited as Curtiz was ill with the cancer that would kill him in the year after the film's release. Given the episodic, good-natured atmosphere of the film, probably only an expert could tell who directed what here, and I'm not sure how much it matters anyway, given that all the other elements of the film are quite impressive - at least up until the finale, on which more later. We get started off with a rousing blast of music that sounds suspiciously similar to the previous year's THE MAGNIFICENT SEVEN, and indeed the score turns out to be by Elmer Bernstein who was responsible for that legendary theme. If anything his music for this film is even more impressive, and frankly I'm not sure why it's not better known. We have a great initial shot of a rugged western prairie and hill terrain, as the camera pans up to check out the Duke in his familiar red shirt and suspenders astride a horse, a nice moment to take in the terrific photography of William Clothier, perhaps the preeminent 60s western cinematographer, whose work here is also on quite a high level. From here the scene shifts to New Orleans, sunrise...and a duel. The victor, one Paul Regret (a terrific young Stuart Whitman) has to flee, and he does so on a riverboat, only to fall for the wiles of a young woman - and then just as quickly to be captured by the tall horseman from the first scene, Wayne's Ranger Cutter. The next episode involves Cutter's efforts to transport Regret to Galveston, overland by horse which will take a few days. The two make uneasy travelling companions, with Cutter clearly mocking and looking down on the dandyish Regret. Wayne is at his best in these early scenes, humorous and sarcastic and very at easy yet always with a purpose lurking behind his exaggerated drawl. If I had to guess I'd say he directed some of these sequences; in any case, this section soon ends when the two come across a Comanche-raided ranch, and Regret makes an escape. Chastened not a bit by his failure, Cutter is prepared to go after his man again but is instead assigned to pretend to be an illegal gun dealer and deliver some rifles to a man believed to be dealing with the Comanches, so the Rangers can find the hideout of these "Comancheros". The man turns out to be Lee Marvin as Tully Crow in an all-too-short sequence which ends up reuniting Cutter with his wanted man Regret. This time, the two are interrupted at a farm by Comanches and Comancheros, and Regret saves the day - and wins the thanks of the Texans, and his freedom. Becoming a Marshall himself, he and Cutter try again to infiltrate the Comancheros as arms dealers, and here's where the film gets a bit problematic. Like I said above, I can take the historical inaccuracies to some extent - but the whole final sequence, involving the two men being accepted into a camp of hundreds of armed men, and Regret's love-of-a-night from the steamboat, Pilar (Ina Balin) surfacing as the daughter of the Comanchero leader (Nehemiah Persoff) is all a bit too much to swallow. It ends up having the feeling more appropriate to something like James Bond at the end than a western, and it all wraps up a little too tidily and easily for my taste. Still, with Wayne and Whitman doing stellar work, a very fine supporting cast, and some of the best dialogue in a western this side of JOSEY WALES, plus that AMAZING Bernstein score and fine Clothier photography, I think forgiving fans of the genre should have a good time anyway. I did.

Another great John Wayne western. These old westerns will never be lost cause they represent the old west as most of us really want it to be. I was a stuntman in those days and was lucky eough to work on this film.

this is the complete John Wayne moive, all the way from the gun fights to the larger than life screen apperance. its a must buy

Reviews

Great material with color setions and lots of examples/pictures. Good to see Northwest included in this guide. Highly recommended addition to a solid reference collection. Worth the price.

If you enjoy looking a the type of artifacts that are in your region, you will enjoy owning this book.

The Overstreet series of books have a system for identifying and determining the value of prehistoric arrowheads in the continental United States and Alaska. The book is divided into geographic zones, such as the Southwest, or the North Central, etc. You will need to know the general area where the arrowhead came from, and then compare its general shape with other known types in the same area. Once you have identified one or several types that are similar to the arrowhead you are attempting to identify, you can compare your arrowhead to the pictures and descriptions of the other similar type or types. These pictures are in black and white, except for a few pages of broad/general overview of all arrowheads. The book is very useful for identifying the specific name of the arrowhead you are attempting to identify and its age. It also lists the "wholesale" and "retail" dollar values of the arrowheads. These values seem to be consistently higher than those in other references. There is also a section on "Old World" artifacts with descriptions and color pictures, but no values. In my opinion, the real value of this book is in helping you to identify what you have.

I'm a beginner and this has been a great book for me. I would recommend it for advanced and beginner. A great book!

I have found the Overstreet book concerning arrowheads to be a "must have" guide when delving into the world of Indian artifacts. It is easy to use as well as very expansive in covering the types of arrowheads found in North America.

Reviews

I enjoy this book very much. I think you will find it valuable too.

This is a great book and very informative. THis book can be used by the novice or by an avid collector. Many useful articles and pictures. Very well illustrated and handy.

Good overall, although only basic pictures, simple text but get the point across. THis book is really the same for over a decade now, but has updated realistic prices. Lar did great and his son has done well since his passing. Good value price too.

Mr. Hothem puts together a book that is easy reading but I wish it had a section which showed exactly what characteristics designates certain points from each other (with a diagram). Otherwise, I found the book to be a nice companion book to other arrowhead books I have.

This 223 page's book is an excellent introduction to the world of prehistoric amerindian projectile points and arrowheads. In some very nice photos and inscriptions you could find the "keys" to what you collect, their relative prices, regional classification and chipping techniques. A simple and practical relation describes the U.S. materials used to make arrowheads and blades including all the regional types, edges, shapes, individual characteristics of each piece and instructions to take care with them. Indispensable to begginers and advanced collectors this book certainly attempt the amateur archaeologist's expectation.

Reviews

This is a great sequel to volume one. Very well illustrated and very interesting. I would recommend this resource for any collector or anyone interested in learning about various types of American Indian artifacts.