The Tall T

1957
Approved
1h 18m

IMDb RATING

7.3/10

6.5K

YOUR RATING

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Western

An independent former ranch foreman is kidnapped along with an heiress, who is being held for ransom by trio of ruthless outlaws.An independent former ranch foreman is kidnapped along with an heiress, who is being held for ransom by trio of ruthless outlaws.An independent former ranch foreman is kidnapped along with an heiress, who is being held for ransom by trio of ruthless outlaws.

See production info at IMDbPro

IMDb RATING

7.3/10

6.5K

YOUR RATING

See production info at IMDbPro

Awards
- 1 win

Jace
(uncredited)

Dick Johnstone

Townsman
(uncredited)

Anne Kunde

Townswoman
(uncredited)

Christopher Olsen

Jeff
(uncredited)

Fred Sherman

Hank Parker
(uncredited)

Director
- Budd Boetticher
Writers
- Burt Kennedy
- Elmore Leonard
All cast & crew
Production, box office & more at IMDbPro

Storyline

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Did you know

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Trivia
Although playing the older man, Arthur Hunnicutt was actually twelve years younger than Randolph Scott.

Goofs
As Brennan rides into town, after the meeting with the station keeper and his son, he passes the stage, which is standing in the street. Behind the stage, in the street behind, there is a parked car.

Quotes
[last lines]
[Pat, to the weeping Doretta, after he has killed three murderous kidnappers]
Pat Brennan: Come on now. It's gonna be a nice day.

Connections
Featured in Century of Cinema: A Personal Journey with Martin Scorsese Through American Movies (1995)

User reviews88

Review

Featured review

Another Boetticher Marvel

This is an example of a western made with not much money and very much punch. Boetticher delivers again and this is one of his best, with But Kennedy on hand to craft an excellent script.

Critics wax eloquent about Anthony Mann's use of scenery (as if he had nothing to say or do beyond that) but never mention Boetticher's use of the physical world and its geometry, but there is definitely something to speak of them in this film. The rocks and the rocks behind the rocks are beautifully used here and their iconography (an unadorned rock-solid shoot-out) work wonderfully well.

Scott is occasionally sappy during the beginning, admitted, but confronted with unspeakable crimes, never explicit or explained in full, are avenged with cool efficiency and nothing sentimental whatsoever from then on. The O'Hara-Scott relation is absolutely fascinating. This is a western for people who take westerns straight.

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