The Ballad of Cable Hogue | |
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![]() Theatrical release poster | |
Directed by | Sam Peckinpah |
Written by |
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Produced by | Sam Peckinpah |
Starring | |
Cinematography | Lucien Ballard |
Edited by | Frank Santillo Lou Lombardo |
Music by |
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Production company | |
Distributed by | Warner Bros. |
Release date |
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Running time | 121 minutes |
Country | United States |
Language | English |
Budget | $3,716,946 [2] |
Box office | $5,000,000 [2] |
The Ballad of Cable Hogue is a 1970 American Technicolor Western comedy film directed by Sam Peckinpah and starring Jason Robards, Stella Stevens and David Warner. Set in the Arizona desert during a period when the frontier was closing, the film follows three years in the life of a failed prospector. While unmistakably a Western, the movie is unconventional for the genre and for the director. It contains only a few brief scenes of violence and gunplay, relying more on a subtly crafted story that could better be characterized as comedic in nature.
Sometime around 1905, Cable Hogue is isolated in the desert awaiting his partners, Taggart and Bowen, who are scouting for water. The two plot to seize what little water remains to save themselves. Cable, who hesitates to defend himself, is disarmed and abandoned to almost certain death.
Confronted with sandstorms and other desert elements, Cable bargains with God. Four days later, about to perish, he stumbles upon a muddy pit. He digs and discovers an abundant supply of water.
After discovering that his well is the only source of water between two towns on a stagecoach route, he decides to live there and build a business. Cable's first paying customer is the Rev. Joshua Duncan Sloane, a wandering minister of a church of his own revelation. Joshua doubts the legitimacy of Cable's claim to the spring, prompting Cable to race into the town of Dead Dog to file at the land office.
Cable faces the mockery of everyone he tells about his discovery. That does not deter him from buying 2 acres (0.8 ha) surrounding his spring. He immediately goes to the stage office to drum up business but is thrown out by the skeptical owner. He pitches his business plan to a bank president, who is dubious about the claim. Cable impresses the banker with his attitude and he is staked to $100.
Cable, who hasn’t bathed since his desert wanderings, decides to treat himself to a night with Hildy, a prostitute in the town saloon. They quickly develop a jovial understanding but before they can consummate the transaction, Cable remembers that he has still not set up his boundary markers and rushes out, much to Hildy's chagrin. She chases him out of the saloon in a sequence that wreaks havoc on the town.
Back at the spring, Cable and Joshua get to work, dubbing the claim Cable Springs. The two decide to go into town and are drunk by the time they arrive. Cable makes up with Hildy and spends the night with her, leaving Joshua to pursue his passion: the seduction of emotionally vulnerable women.
Cable and Joshua continue to run the robust business, delighting in shocking the often genteel travelers with the realities of frontier life. In moments of solitude, Cable and Joshua philosophize on the nature of love and the passing of their era. Joshua decides that he must return to town. Hildy arrives at Cable Springs having been "asked" to leave by the modernizing townfolk, who can no longer abide open prostitution in their midst. She tells Cable that she will leave for San Francisco in the morning but winds up staying with him for three weeks. This time elapses during a tender, romantic montage.
Joshua eventually wanders back to Cable Springs, having gotten into trouble with a married woman in Dead Dog, but leaves a few days after Hildy decides to continue on way to San Francisco. Cable continues to run his establishment alone.
Then one day, Taggart and Bowen arrive on the stagecoach. Cable lets them believe that he bears them no ill will, and he alludes to a huge stash of cash that he has hoarded, knowing that the two men will return to steal it. When they do, Cable outwits them, by throwing rattlesnakes into the pit they have dug. When they surrender, he orders them to strip to their underwear to venture into the desert, just as he had been forced to do. Taggart, believing Cable will once again hesitate to defend himself, reaches for his gun but Hogue shoots him dead.
A motor car appears, driving right past Cable Springs with no need or interest in stopping for water. The drivers laugh at the archaic scene of western violence as they race past. "Went right on by," says Cable in amazement. "Well, that's gonna be the next fella's worry."
Cable takes mercy on the grovelling Bowen. He even gives him Cable Springs, having decided to go to San Francisco to find Hildy. The stagecoach arrives and Cable gets ready to pack up when suddenly another motorcar [3] appears. This one does stop and Hildy emerges, opulently dressed. She has become prosperous (by marrying a rich man who "died in bed of a stroke") and, now on her way to New Orleans, has come to see if Cable is ready to join her. He agrees but while he loads the motorcar he accidentally trips its brake. The car runs over him as he pushes Bowen out of the way.
Joshua, who arrives by a black motorcycle with a sidecar, gives a eulogy for Cable as he dies. This segues into a funeral with the cast standing mournfully over Cable's grave. They are grieving not only the death of the man but the era he represents. The stagecoach and motorcar drive off in opposite directions. A coyote wanders into the abandoned Cable Springs. But the coyote has a collar – possibly symbolising the taming of the wilderness.
Sam Peckinpah followed his violent, critically acclaimed 1969 film The Wild Bunch with this mostly non-violent Western. Utilizing many of the same cast (L.Q. Jones, Strother Martin) and crew members of The Wild Bunch, Peckinpah shot on location in the desert of Nevada and Apacheland Movie Ranch located in Apache Junction, Arizona. The production was plagued by poor weather, Peckinpah's renewed alcohol consumption and his brusque firing of 36 crew members. When unable to shoot due to weather conditions, the cast and crew would go to a local bar, eventually running up a tab of $70,000. The chaotic filming wrapped 19 days over schedule and $3 million over budget, terminating his tenure with Warner Bros.-Seven Arts. In retrospect, it was a damaging career move. The critical and box office hits Deliverance (1972) and Jeremiah Johnson (1972) were in development at the time and Peckinpah was considered the first choice to direct them. [4] His alienation of Warner Brothers left him with a limited number of directing jobs. Peckinpah was forced to do a 180-degree turn from The Ballad of Cable Hogue and traveled to England to direct Straw Dogs (1971), one of his darkest and most psychologically disturbing films.
The Ballad of Cable Hogue has an original score by Jerry Goldsmith and songs by Richard Gillis, whom Peckinpah supposedly hired after hearing him sing in a local bar. [5] Each of the main characters has a theme: Hogue's "Tomorrow is the Song I Sing", Hildy's "Butterfly Mornin's", and Joshua's "Wait for Me, Sunrise". The soundtrack was eventually released in 2001 by Varèse Sarabande, in a limited edition album of 3000 copies.
On Rotten Tomatoes the film has an approval rating of 94% based on reviews from 16 critics. [6]
Roger Ebert of the Chicago Sun-Times gave the film three-and-a-half stars out of four and called it "a splendid example of the New Western. It's also a fine movie, a wonderfully comic tale we didn't quite expect from a director who seems more at home with violence than with humor." [7] Roger Greenspun of The New York Times called it "Peckinpah's gentlest, boldest, and perhaps most likable film to date. It is also thematically his most ambitious." [8] Gene Siskel of the Chicago Tribune gave the film three stars out of four and wrote that there were "many things to cherish in 'Cable Hogue,' especially Jason Robards' flawless performance. Robards is able to be both as tough and as compassionate as his character." Siskel's main complaints was during the second act when "one of two things happened. Either my needs require a quicker-moving film or gunplay, or Peckinpah did not have enough of a story." [9] Arthur D. Murphy of Variety called it "a Damon Runyon-esque oater" that was "[l]oaded with bawdy, lusty and gritty elements, plus genuine tenderness and feeling, as well as too much length ... This is a notable, but not substantial, flaw in an otherwise excellent film." [10] Charles Champlin of the Los Angeles Times stated that the film "gets away to a shocking and immensely cinematic start. The trail, I'm afraid, winds down from there, but even at his most heavy-handed, simplistic and protracted, Peckinpah remains just about the most genuinely individualistic American director of his generation." [11] Gary Arnold of The Washington Post called it "a mood piece in which the right mood—a laconic fairy tale, rather like William Wyler's 'The Westerner' with Gary Cooper and Walter Brennan—is only fitfully achieved and sustained. There are nice moments, nice feelings, but the film has a jerky rhythm and uneven tone. It feels rather absent-minded, as if Peckinpah were distracted during the shooting (as indeed, he was—by editing 'The Wild Bunch') and never found a consistent style for this material." [12]
Largely ignored upon its release, The Ballad of Cable Hogue has been rediscovered and is often held by critics as an example of the breadth of Peckinpah's talent. They claim that the film proves Peckinpah's ability to make unconventional and original work without resorting to explicit violence. Over the years, Peckinpah cited the film as a favorite. [13] [14] [15] All the town scenes were filmed on location at Apacheland Movie Ranch in Apache Junction, Arizona. The desert scenes at Cable Springs and elsewhere were filmed in Nevada at Valley of Fire State Park.
Critics have called The Ballad of Cable Hogue a "Death of the West" film, depicting the transition from old to modern civilization. Other films of this category include Once Upon a Time in the West (1968), Paint Your Wagon (1969), Monte Walsh (1970), The Life and Times of Judge Roy Bean (1972), The Shootist (1976), Unforgiven (1992) and Peckinpah's Ride the High Country (1962), The Wild Bunch (1969) and Pat Garrett and Billy the Kid (1973).
The Ballad of Cable Hogue had an operating budget of $3,716,946. [2] The film earned $5,000,000 worldwide, with $3,500,000 in box office sales in the United States, and an additional $1,500,000 internationally. [2]
Welsh musician John Cale wrote and recorded a song titled "Cable Hogue" for his 1975 album Helen of Troy.
Tucson band Calexico wrote a song called "Ballad Of Cable Hogue" on their 2000 album Hot Rail, which shares similar lyrical themes to the plot of the film.
The 2007 bootleg album Cable Hogue Soundtrack, by the Japanese band Les Rallizes Dénudés, has no connection to the movie or its soundtrack.
David Samuel Peckinpah was an American film director and screenwriter. His 1969 Western epic The Wild Bunch received an Academy Award nomination and was ranked No. 80 on the American Film Institute's top 100 list. His films employed a visually innovative and explicit depiction of action and violence as well as a revisionist approach to the Western genre.
The Wild Bunch is a 1969 American epic revisionist Western film directed by Sam Peckinpah and starring William Holden, Ernest Borgnine, Robert Ryan, Edmond O'Brien, Ben Johnson and Warren Oates. The plot concerns an aging outlaw gang on the Mexico–United States border trying to adapt to the changing modern world of 1913. The film was controversial because of its graphic violence and its portrayal of crude men attempting to survive by any available means.
Straw Dogs is a 1971 psychological thriller film directed by Sam Peckinpah and starring Dustin Hoffman and Susan George. The screenplay, by Peckinpah and David Zelag Goodman, is based on Gordon M. Williams's 1969 novel, The Siege of Trencher's Farm. The film's title derives from a discussion in the Tao Te Ching that likens people to the ancient Chinese ceremonial straw dog, being of ceremonial worth, but afterwards discarded with indifference.
Bring Me the Head of Alfredo Garcia is a 1974 Mexican-American neo-Western film directed by Sam Peckinpah, co-written by Peckinpah and Gordon Dawson from a story by Peckinpah and Frank Kowalski, and starring Warren Oates and Isela Vega, with Robert Webber, Gig Young, Helmut Dantine, Emilio Fernández and Kris Kristofferson in supporting roles.
Cross of Iron is a 1977 war film directed by Sam Peckinpah, featuring James Coburn, Maximilian Schell, James Mason and David Warner. Set on the Eastern Front in World War II during the Soviets' Caucasus operations against the German Kuban bridgehead on the Taman Peninsula in late 1943, the film focuses on the class conflict between a newly arrived, aristocratic Prussian officer who covets winning the Iron Cross and a cynical, battle-hardened infantry NCO.
The Getaway is a 1972 American action thriller film based on the 1958 novel by Jim Thompson. The film was directed by Sam Peckinpah, written by Walter Hill, and stars Steve McQueen, Ali MacGraw, Ben Johnson, Al Lettieri and Sally Struthers. The plot follows imprisoned mastermind robber Carter "Doc" McCoy, whose wife Carol conspires for his release on the condition they rob a bank in Texas. A double-cross follows the crime, and the McCoys are forced to flee for Mexico with the police and criminals in hot pursuit.
On the Town is a musical with music by Leonard Bernstein and book and lyrics by Betty Comden and Adolph Green, based on Jerome Robbins' idea for his 1944 ballet Fancy Free, which he had set to Bernstein's music. The musical introduced several popular and classic songs, among them "New York, New York", "Lonely Town", "I Can Cook, Too", and "Some Other Time". The story concerns three American sailors on a 24-hour shore leave in New York City during World War II, 1944. Each of the three sailors meets and quickly connects with a woman.
The Legend of the Lone Ranger is a 1981 American Western adventure film directed by William A. Fraker and starring Klinton Spilsbury, Michael Horse and Christopher Lloyd. It is based on the story of The Lone Ranger, a Western character created by George W. Trendle and Fran Striker.
Warren Mercer Oates was an American actor best known for his performances in several films directed by Sam Peckinpah, including The Wild Bunch (1969) and Bring Me the Head of Alfredo Garcia (1974). Another of his most acclaimed performances was as officer Sam Wood in In the Heat of the Night (1967). Oates starred in numerous films during the early 1970s that have since achieved cult status, such as The Hired Hand (1971), Two-Lane Blacktop (1971), and Race with the Devil (1975). Oates also portrayed John Dillinger in the biopic Dillinger (1973) and as the supporting character U.S. Army Sergeant Hulka in the military comedy Stripes (1981). Another notable appearance was in the classic New Zealand film Sleeping Dogs (1977), in which he played the commander of the American forces in the country.
Stella Stevens was an American actress. She is the mother of actor Andrew Stevens.
Justus Ellis McQueen Jr., known professionally as L.Q. Jones, was an American actor. He appeared in Sam Peckinpah's films Ride the High Country (1962), Major Dundee (1965), The Wild Bunch (1969), The Ballad of Cable Hogue (1970), and Pat Garrett and Billy the Kid (1973). His later film roles include Casino (1995), The Patriot, The Mask of Zorro (1998), and A Prairie Home Companion (2006).
Convoy is a 1978 American road action comedy film directed by Sam Peckinpah and starring Kris Kristofferson, Ali MacGraw, Ernest Borgnine, Burt Young, Madge Sinclair and Franklyn Ajaye. The film is based on the 1975 country and western novelty song "Convoy" by C. W. McCall. The film was made when the CB radio/trucking craze was at its peak in the United States, and followed the similarly themed films White Line Fever (1975) and Smokey and the Bandit (1977). The film received mixed reviews from critics; however, it was the most commercially successful film of Peckinpah's career.
Junior Bonner is a 1972 American contemporary Western film directed by Sam Peckinpah and starring Steve McQueen, Robert Preston, Joe Don Baker and Ida Lupino. The film focuses on a veteran rodeo rider as he returns to his hometown of Prescott, Arizona, to participate in an annual rodeo competition and reunite with his brother and estranged parents. Many critics consider it to be the warmest and most gentle of Peckinpah's films.
Pat Garrett and Billy the Kid is a 1973 American revisionist Western film directed by Sam Peckinpah, written by Rudy Wurlitzer, and starring James Coburn, Kris Kristofferson, Richard Jaeckel, Katy Jurado, Chill Wills, Barry Sullivan, Jason Robards, Slim Pickens and Bob Dylan. The film is about an aging Pat Garrett (Coburn), hired as a lawman by a group of wealthy New Mexico cattle barons to bring down his old friend Billy the Kid (Kristofferson).
Lucien Ballard was an American cinematographer. He worked on more than 130 films during his 50-year career, collaborating multiple times with directors including Josef von Sternberg, John Brahm, Henry Hathaway, Budd Boetticher, Raoul Walsh, Sam Peckinpah and Tom Gries. He was nominated for an Academy Award for Best Cinematography for The Caretakers (1963).
Noon Wine is a 1937 short novel by American author Katherine Anne Porter. It initially appeared in a limited numbered edition of 250, all signed by the author and published by Shuman's. It later appeared in 1939 as part of Pale Horse, Pale Rider (ISBN 0-15-170755-3), a collection of three short novels by the author, including the title story and "Old Mortality." A dark tragedy about a farmer's futile act of homicide that leads to his own suicide, the story takes place on a small dairy farm in southern Texas during the 1890s. It has been filmed twice for television, in 1966 and 1985.
The Killer Elite is a 1975 American action thriller film directed by Sam Peckinpah and written by Marc Norman and Stirling Silliphant, adapted from the Robert Syd Hopkins novel Monkey in the Middle. It stars James Caan and Robert Duvall as a pair of elite mercenaries who become bitter rivals and are caught on opposite sides of a proxy war over a foreign dignitary in the streets of San Francisco.
Robert Golden Armstrong Jr. was an American character actor and playwright. A veteran performer who appeared in dozens of Westerns during his 40-year career, he may be best remembered for his work with director Sam Peckinpah.
Lou Lombardo was an American filmmaker whose editing of the 1969 film The Wild Bunch has been called "seminal". In all, Lombardo is credited on more than twenty-five feature films. Noted mainly for his work as a film and television editor, he also worked as a cameraman, director, and producer. In his obituary, Stephen Prince wrote, "Lou Lombardo's seminal contribution to the history of editing is his work on The Wild Bunch (1969), directed by Sam Peckinpah. The complex montages of violence that Lombardo created for that film influenced generations of filmmakers and established the modern cinematic textbook for editing violent gun battles." Several critics have remarked on the "strange, elastic quality" of time in the film, and have discerned the film's influence in the work of directors John Woo, Quentin Tarantino, Kathryn Bigelow, and the Wachowskis, among others. While Lombardo's collaboration with Peckinpah lasted just a few years, his career was intertwined with that of director Robert Altman for more than thirty years. Lombardo edited Altman's 1971 film McCabe & Mrs. Miller (1971), which had "a radical approach to the use of dialogue and indeed other sound, both in and beyond the frame." Towards the end of his career Lombardo edited Moonstruck (1987) and two other films directed by Norman Jewison. While his editing is now considered "revolutionary" and "brilliant", Lombardo was never nominated for editing awards during his career.
Frank Santillo was an American film editor who won the Academy Award for Best Film Editing for Grand Prix in 1966. He was an associate of Slavko Vorkapich and Peter Ballbusch at MGM during the 1930s and 1940s and was known for his creative montage work. He was under contract as an editor at MGM from 1956 to 1966. He worked with director Sam Peckinpah on three films, and was interviewed at length about the production of Ride the High Country (1962).