The Sons of Katie Elder

After their mother's death , four brothers are reunited . John Wayne is a gunslinger , Earl Holliman is an easy and silent young , Michael Anderson Jr. is a college graduate and Dean Martin is a drunk gambler. When they aware that her mother's death might have been killing , they come together to devise a a way to seek vengeance in the murderer , James Gregory , who hires an ominous gunfighter , George Kennedy , along with bullies and hoodlums . As the ranch owner Katie Elder's four sons determine to avenge the murder of their father and the swindling of their mother .But the marshal, Paul Fix, tells them to lay off .

This cultured actioner Western contains a wonderful friendship between brothers , thrills , dashingly violent action , rider pursuits , impressive attacks and loads of crossfire . In ¨The sons of Katie Elder" Hathaway does the human touch including lots of nice moments , it is a very fine picture that could become another western worthy of any anthology . This John Wayne movie is well in the tradition of classics as ¨The Magnificent seven¨, ¨Garden of evil¨ or ¨The searchers¨ . One of the Duke's most popular film of the 60s ,-in his first character following cancer surgery- as well as ¨¨The Alamo¨, ¨Rio Bravo¨, ¨El Dorado¨and ¨McLintock¨. In the film "The sons of Katie Elder" the spectator enjoys because it has a lot of issues that make it agreeable . Even the female character played by attractive Marta Hyer, reveals a woman who knows that she wishes and makes it irresistible . Large support cast formed by Western usual players as Paul Fix , James Gregory, Earl Holliman and special mention to big Dean Martin . Breathtaking and lively musical score by Elmer Berstein , one of the best of Western genre along with ¨The Magnificent Seven¨ and ¨Comancheros¨ soundtracks. Colorful and spectacular cinematography in Cinemascope and Techniclor by Lucien Ballard.

This well-paced in cracking style flick is stunningly directed by Henry Hathaway and usually works very well . He does the human touch and full of insight that accompanied him during most of his films and the story develops pleasantly in a large frame with an interesting plot and fully adjusted to the requirements of the action .The motion picture is professionally directed by Henry Hathaway with strong screen presence by John Wayne , both of whom collaborated in various Westerns , they included ¨Five Card Stud¨ , ¨North to Alaska¨ and Wayne's Academy Award-winning ¨True grit¨. Hathaway himself was only even nominated for an Oscar , but his movies themselves are testimony to his skills to heighten narrative tension and shoot action so exhilarating it made adrenalin run . Henry was a craftsman who had a long career from the 30s with successful films , and especially Westerns , as ¨Brigham Young¨ and ¨Raw Hide¨ . In his 60s Hathaway still got the vigour to make some fiery movies as ¨From Hell to Texas¨, ¨How the West was won¨, ¨Nevada Smith¨, and ¨Shoot out¨ . He was an expert on Western genre as he proved in ¨True grit , Five card stud , Nevada Smith ,How the West was won , Rawhide , Brigham Young , Buffalo Stampede, Garden of evil¨ and of course ¨The sons of Katie Elder¨. Rating : nice Western that will appeal to John Wayne fans.

"The Sons of Katie Elder", though not one of John Wayne's best westerns, is very entertaining nonetheless. Director Henry Hathaway keeps the story moving providing us with breathtaking scenery and a rousing finale. We are also treated to another rousing score from composer Elmer Bernstien.

The story has the four Elder brothers, John (Wayne), Tom (Dean Martin), Matt (Earl Holliman) and Bud (Michael Anderson Jr.) returning home to Clearwater, Texas for their mother's funeral (the "Katie" of the title). It seems that Katie had been held in reverence by the townspeople while eking out a living to enable the youngest, Bud to attend college.

Their father had also died six months earlier and had apparently lost the family ranch in a poker game. Further investigation reveals that he had been murdered by being shot in the back.

Number one suspect is the town gunsmith Morgan Hastings (James Gregory). Hastings it seems, has acquired the Elder ranch and lives there with his spineless son Dave (Dennis Hopper). Hastings has also hired gunfighter Curley (George Kennedy) to help him get rid of the Elders.

When town sheriff Billy Watson (Paul Fix) is murdered Deputy Ben Latta (Jeremy Slate) immediately blames the Elders and arrests them. While transporting his prisoners to another venue they are ambushed and.......

This was the first film for Wayne following his surgery for cancer. You'll notice that he wears a large bandanna over his neck, presumably to hide the scars and/or the jowls. He was now beginning to show his age and the fact that at nearing age 60, he was still playing a character presumably much younger, kind of detracts a little from his credibility in the role. But hey its John Wayne. Who really cared?

As in most of Wayne's films, the cast includes a roster of recognizable faces. Martha Hyer provides window dressing as Wayne's potential love interest. Also in the cast are John Qualen as the jailer, John Litel as the minister, John Doucette as the undertaker, James Westerfield as the banker, Karl Swenson as the bartender, Rhys Williams as Striker the horse rancher, Strother Martin as the guy who "wins" Martin's glass eye, Percy Helton as the storekeeper and Rudolfo Acosta and Chuck Roberson as contends.

The two plus hour running time goes by quickly. Don't miss the scene where Wayne cold cocks Kennedy or the final shootout.

John Wayne was THE man when it came to starring in Westerns. He could carry a film with little more than a grunt, but you often got more from The Duke than you would expect when they gave him decent supporting players or an antagonist to spar with. Here he's both saddled as his brothers with Dean Martin, Earl Holliman, and Michael Anderson Jnr, and James Gregory, George Kennedy, and as the piece's villains a young Dennis Hopper. Unfortunately, it's not one of the better westerns of Wayne, but here is enough to warrant you time.

Her four sons are attending the funeral of Katie Elder in Clearwater, Texas, all four of them harboring regrets that they'd let down their mother. Wayne, the eldest, is a famous gunfighter, Martin is a professional gambler, Holliman is a store owner, and the youngest Bud is still in school. Their return home is not popular, and things turn sour pretty fast when certain things happen that make the brothers ask questions. They murdered their father, lost their ranch and land in a card game, and their mother died with little to their name. Some stinks, and John Elder from Wayne will find out exactly what has happened.

George Kennedy's got that gleeful grin from a baddie down here to a tea, and he's not disappointing here during his short screen stint. Unfortunately, Hopper is underused and James Gregory hams it up as well as the real villain pulling all the strings that the brothers were framed to kill the local sheriff. There are shootouts, there are unexpected deaths, and as they did in Rio Bravo back in 1959, Wayne and Martin make for a good team. The script isn't great, there's no interest in love for any of them, and Martha Hyer's small role is nothing more than a token female part that brings very little to the proceedings.It's a shame, this is one of those movies that I haven't seen for more than thirty years and seemed to remember having more action and certainly more Wayne dialogue. Unfortunately not, and director Henry Hathaway made much better movies than this one, scrubbing off the very long list of Wayne Westerns is just another.

John, Tom, Matt and Bud, these are the Elder boys, who upon meeting up at the funeral of their recently deceased mother, find that their father may have been murdered over a card game. The boys must cast off sibling rivalries and find out just what has been happening in their childhood town of Clearwater, Texas.

Unfairly given harsh treatment upon its release by the critics and beset with behind the scenes problems, The Sons Of Katie Elder actually holds up rather well in this day and age. All the required traits are in the film to make it an oater of some worth, a splendid cast with as much macho beef as you can shake a stick at, a top Elmer Bernstein score, the wonderful use of the Casa Blanca location and a revenge driven plot of some note. So why is it hard to actually sell this picture to the staunch Western crowd? Well coming as it did in 1965 it certainly has something of a modern sheen to it, an uneasy bed fellow with the wild west theme of the picture. The casting of the brothers just about works, but Michael Anderson Jr (Bud) and Earl Holliman (Matt) do seem to be overawed by the presence of John Wayne (John) and Dean Martin (Tom), meaning as a foursome it never quite gets to being a tight acting unit. The length of the picture may also be an issue to some? Long periods of inaction work to me personally because the characters (family unit) are gaining much needed depth, but for those wanting guns a toting at frequent intervals are not exactly catered for.

Yet what action there is surely more than makes it worth the viewers patience? From the Duke swinging a nice piece of hickory to a wonderful riverside shootout, Henry Hathaway's Western is not found wanting for memorable sequences, in fact if you ask me then the mere sight of the Duke blasting away with a six shooter in each hand is a truly blood pumping joy, and don't get me started on a delightful Dean Martin scene as he raffles his glass eye! So all in all it's not without its itches, but as 60s Westerns go, The Sons Of Katie Elder is a hugely enjoyable picture to enjoy by the fireside on a Sunday afternoon. 7/10

Beset by production difficulties and largely ignored by critics upon release, this is a film that, like its star, has grown better with age. Director Hathaway's open-air style perfectly suits the expansive nature of the material, which by today's standards seems almost leisurely. In fact Sergio Leone acknowledged this fact when he greatly reworked the opening station scene as the beginning of Once Upon a Time in The West/C'era una volta il West (1969). (He also had his heroine arriving at his own Clearwater station later.) Elmer Bernstein's score is a standout, recalling his achievement on The Magnificent Seven (1960). There are several scenes which gain immeasurably from his masculine music, which ranges from the grand celebratory mode of the main theme to some suitably subdued and menacing cues for the final showdown.

A convalescent Wayne plays the returning gunfighter John Elder, summoned by the death of his mother. Bewigged, paunchy, and slightly wheezy, the recently de-lunged actor still acts an imposing head of the Elder clan. He finds himself leading a dysfunctional family, united at first by grief, then the clumsy depredations of Morgan Hastings (an excellent James Gregory) who has swindled his way into possessing the family land. Together with memories of the late Katie Elder herself, like an American monument, Wayne's presence dominates the film. Recognising this, Hathaway uses it to great advantage with the first view of his star, perhaps Wayne's most impressive screen entrance since that in Stagecoach of 26 years earlier. As Katie is buried, in long shot, we take in an overview of the cemetery with its cluster of mourners, A massive rock formation overshadows the land. After a few seconds, a small detail catches the eye high up in a cleft. The camera cuts closer, and we think we recognise the figure. Cut again, and it is shown to be the watching John, irresistibly solid and still. At this stage in his career Wayne so easily assumes the permanence and grandeur of landscape that the iconic nature of this moment is accepted by the viewer without question.

This is last time in his career that Wayne is so emphasised. Twice in Katie Elder the director takes the opportunity to film his star 'doing the walk' – his tall frame strolling purposefully towards the camera, intent on action. In later films (such as Hathaway's own True Grit (1969)) such virile ruggedness is replaced by hard-bitten cantankerousness, more in keeping with the actor's advancing age. It was more the rule too, in Wayne's later career, for seriousness to be replaced by knockabout humour, reaching a zenith in the boisterous McClintock! (1963). In Katie Elder, many of the interior scenes between the brothers are marked by such elements of genial horse play, culminating in a fist fight in which John Elder crashes through a door. Outside they present more of a unified force, optimistically dubbed by Hastings 'the Elder Gang'. Showing this is more difficult than it seems, and fortunately Hathaway keeps matters under control. Moments of broad comedy, like Tom (Dean Martin) auctioning off his glass eye, are not too distracting and often provide a contrast to more serious moments (Curley threatening Matt with gunplay). The banter between the Elder sons also serves to unify the siblings in the most natural way, and establish relationships, even if some of the camaraderie is hard won. In particular one wishes that the two older brothers had more to say to each other, or shared some scenes alone - especially given the on-screen rapport Martin effortlessly created a few years earlier when he worked with Wayne in Rio Bravo (1959).

As the villain of the piece, Hastings has an emphasised affinity with a special firearm. His armament enthusiasm recalls some of the baroque arsenals appearing in some spaghetti Westerns of the time, where the traditional six shooter was replaced by ever more fancy weapons. At the start of the film Hastings has already hired Curley, a heavy dressed all in black in very traditional fashion. This range thug is played well by George Kennedy, and the scene where he is clubbed in the mouth by Wayne is often cited by viewers as one of the most memorable. In fact, so effective is Curley's suggested brutality that one wishes more could have been made of a man who says ominously 'I don't care what I have to do, as long as I get my money'. Curley and Wayne needed more of a showdown to make their moral antipathy pay dividends, and the viewer is disappointed that this doesn't eventually occur. It is one of the weakness of the film that the villain meets his demise so casually, a victim of crossfire rather than a deliberate showdown. As Hasting's son Dave, Dennis Hopper performs adequately. One feels he would have been better cast as the younger Elder brother, with more to do. In contrast to Kate's oft-stated warmth towards her absent sons, Hasting's treatment of his sibling is cold and uncaring. If the less experienced face of Jeremy Slate had been cast as his son, the gun lover's cruelty would have been even more damning. As it is, Hastings' attitude towards Dave is left largely unexplained, although predictable enough.

Apart from the casting and music, much of the pleasure of the film springs from the mise-en-scene familiar to those who enjoy the big 50's and 60's Westerns. The geography of Clearwater for instance, so effortlessly established in the early scenes; the interior of Katie's pioneer cabin, or the gunfight by the river. It is also a reminder of a lost time in Westerns, when an ever reliable Wayne confronted frontier trouble, with none of the moral complications suggested by the contemporary work of a Peckinpah or Leone. Like the simple pleasures Mrs Elder found in her beloved rocking chair, this is a production which has been continually revisited by fans since the initial release, and will continue to be so.