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Saddle the Wind (1958)

Approved | | Western | 5 March 1958 (USA)
Steve Sinclair is a world-weary former gunslinger, now living as a peaceful rancher. Things go wrong when his wild younger brother Tony arrives on the scene with his new gun and pending bride and former saloon girl Joan Blake.

Directors:

Robert Parrish, John Sturges (uncredited)

Writers:

Rod Serling (screenplay), Thomas Thompson (screen story)
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Cast

Complete credited cast:
Robert Taylor ... Steve Sinclair
Julie London ... Joan Blake
John Cassavetes ... Tony Sinclair
Donald Crisp ... Dennis Deneen
Charles McGraw ... Larry Venables
Royal Dano ... Clay Ellison
Richard Erdman ... Dallas Hanson
Douglas Spencer ... Hemp Scribner
Ray Teal ... Brick Larson
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Storyline

Steve Sinclair is a world-weary former gunslinger, now living as a peaceful rancher. Things go wrong when his wild younger brother Tony arrives on the scene with his new gun and pending bride and former saloon girl Joan Blake.

Plot Summary | Add Synopsis

Taglines:

Add It to the Honor Roll of Big Western Drama!Two brothers...one gun-shy, one girl-crazy...in a territory that was not ready for love or the law! See more »

Genres:

Western

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

5 March 1958 (USA) See more »

Also Known As:

Three Guns See more »

Filming Locations:

Rosita, Colorado, USA

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Perspecta Stereo (Perspecta Sound®) (Westrex Recording System)

Color:

Color (Metrocolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

A first score was written and recorded by Jeff Alexander but had to be replaced due to extensive re-cutting. See more »

Goofs

As Tony tells the men in the bunk house that he is taking control of the Sinclare ranch, his neckerchief is predominantly in front, with a the tails hanging down the front of his open shirt. After the fistfight with Steve it moves a bit more to the front. The scene cuts after Steve walks out the door, the men release Tony, and he bends down to pick up his cowboy hat, but now the neckerchief has been twisted around to the far side of his neck, with the knot practically on the right side of his head. See more »

Quotes

Steve Sinclair: I tried to bend that kid a certain way. I tried to shape him. He was some kind of tough leather that I had to make soft. But he didn't soften any. He wasn't made that way. He was just rotten leather and he came up hard.
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Soundtracks

Saddle the Wind
By Jay Livingston and Ray Evans
Sung by Julie London (uncredited)
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User Reviews

 
Hollywood vs. New York in the Wild West
14 September 2013 | by judithh-1See all my reviews

Saddle the Wind is the result of a creative conflict between golden era Hollywood and the cool method acting world of New York in the late 1950's. Both the writer, Rod Serling (of Twilight Zone fame) and John Cassavetes represented the new, "cool" world of New York. Robert Taylor, holder of the record for the longest employment by one studio) represented Hollywood with a capital "H." The director, Robert Parrish, was more on the New York wavelength.

From what I've read, Cassavetes tried to antagonize Taylor with his difficult behavior and, when he failed, got even more outrageous. The New York crew regarded Taylor as incredibly "square." The result of all this is a fascinating conflict of styles. Taylor prided himself on not "mugging" and here his reserved style worked well as Cassavetes' older brother, a retired gunman. The pain of a man watching someone he brought up as son, not a younger brother, turn into an unstable, erratic killer is evident on Taylor's craggy face. The younger brother is in constant motion--he seems to mistake activity for accomplishment.

Through a number of plot twists including disputed land ownership, romance (with Julie London) and brother-to-brother conflict, the film moves quickly and stylishly towards its inevitable end. The photography is excellent, making the best of the glorious scenery. Julie London is underused but does what she can.

In the end, New York and Hollywood work well together to make a highly watchable film. Review by me for the IMDb.


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