User reviews

The death of the Wild West has been a recurring theme in many films. From Sam Peckinpah's 'The Ballad of Cable Hogue' to Don Siegel's 'The Shootist,' numerous movies have depicted the arrival of modernity and the end of days for cowboys and gunslingers. This transition period, often marked by the emergence of railroads, motorcars and industrialization, symbolizes a profound shift in American identity and values.

These films not only chronicle the physical changes in the landscape but also delve into the emotional and psychological impacts on those who lived through this era. The rugged individualism and frontier spirit that defined the cowboy way of life are juxtaposed against the inevitability of progress and the loss of a simpler, albeit harsher, way of life.

William A. Fraker's directorial debut, 'Monte Walsh' is a moving, powerful exploration of these themes. Set against the backdrop of a vanishing frontier, the film follows the titular character as he grapples with the inexorable march of progress. Monte, along with his friend Chet Rollins, embodies the frontier spirit that is slowly being rendered obsolete. The film poignantly captures their struggle to find purpose and identity in a world that no longer values their skills, not only telling the story of one man's journey but also serving as a broader commentary on the end of an era.

Furthermore, Monte's relationship with Martine Bernard, a prostitute, adds a deeply personal dimension to the narrative. She is more than just a love interest; she represents the human cost of the changing times. Their relationship is tender and genuine, marked by mutual respect and affection. Despite the societal stigma attached to her profession, Martine is depicted with dignity and depth.

Monte's interactions with Martine highlight his vulnerability and longing for stability in a world that is slipping away. Their moments together are the film's most poignant, and would move even the coldest of people. Their relationship serves as a microcosm of the broader changes happening in the West, illustrating how personal lives are intertwined within the larger historical shifts.

Fraker's direction brings a sense of authenticity to the film, with sweeping shots of the Western landscape emphasising the vastness and isolation of the frontier. Lukas Heller and David Zelag Goodman's screenplay brims with nuance and dramatic depth, though is also very funny in places, with sharp dialogue. In addition, David M. Walsh's cinematography contrasts the open, untamed land with the encroaching signs of civilization, complementing the narrative and enriching its themes.

The film is not just a story about the end of the cowboy era; it's a meditation on change, loss and the search for meaning in a world that is moving on. It's poignant exploration of these themes makes it a standout in the Western genre, offering a reflective, emotionally resonant experience. Moreover, John Barry's elegiac score adds a hauntingly beautiful layer, enhancing its depth. The music underscores the melancholy and nostalgia permeating the story, heightening the film's impact considerably.

Further, the film stands out not only for its thematic richness but also for its ability to evoke a deep sense of time and place. The minute attention to detail- from Albert Brenner's authentic production and costume design, to Phil Abramson's set decoration- immerses one fully in the waning days of the Wild West. It is also well-edited, with a good pace from start to finish- a testament to Fraker and the four credited editors' skills in the cutting room.

Lee Marvin stars as the titular character, delivering a nuanced, subtle performance that ranks alongside his very best. Marvin underplays the part of Monte beautifully, capturing the quiet dignity and inner turmoil of a man facing the end of his way of life. His performance is marked by a restrained intensity, allowing the character's emotions to simmer just beneath the surface. This approach not only makes Monte a deeply sympathetic figure but also adds a layer of realism to the film.

Often remembered as a heavy or a tough guy, Marvin here proves once again what a talented, intelligent actor he was; as Monte, he is unforgettable. Opposite him, Jack Palance delivers an equally compelling performance as Chet, bringing an affecting warmth and humanity to the role. He and Marvin- with whom he appeared on screen numerous times- work wonderfully together.

Additionally, Jeanne Moreau makes Martine dignified and tender, providing a strong emotional anchor for Monte. Moreau shares a believable chemistry with Marvin, her performance highlighting the personal sacrifices and emotional toll of the changing times. Mitchell Ryan also does strong work as Shorty Austin, one of Monte's fellow cowpokes, while the likes of Jim Davis, Matt Clark and G. D. Spradlin are equally commendable.

In conclusion, 'Monte Walsh' is a poignant film capturing the essence of a dying era. Through its rich characters and emotional depth, it offers a heartfelt farewell to the Wild West and the rugged individualism it represented. Quiet and compassionate, it's evocative visuals and score heightens the depth of its engaging narrative, while all in the cast perform masterfully- especially star Lee Marvin. A must-watch for Western fans, or fans of cinema in general, 'Monte Walsh' rides high in the saddle into the sunset, lingering in the mind long after the credits have rolled.

I heartily agree with the other enthusiastic reviews of this movie, so instead of repeating their comments I'll just add a couple of notes which I didn't see in anyone else's remarks.

One thing that really drew me into this movie was how, over and over, I would be watching a scene play out and there would be a _very_ few words exchanged, with minimal "dramatizing music" or other "play-ups" adding dramatic weight, and I'd just ache for more words to be said. So much was happening _to_ the characters (mostly internal, as the film focuses more on people than events) and they went through it with such a minimum of dialogue. That made a strong impression on me as it left me wanting more; wishing somehow they could make it alright by just saying more of what was obviously on their hearts.

Another thing I loved about this movie was the distinctiveness of the characters. One had false teeth; one rarely (if ever) bathed; one was called "Shorty"; and, of course, the unforgettable mugs of Palance and Marvin -- and the distinctiveness of these wasn't all simply in their appearances. Before long they started to feel like my own friends. My heart broke watching their whole world pass them by.

Sensitive Western with satisfying and impressive directorial by William A Fraker , in his film debut for this award-winning cinematographer , being based on Jack Schaefer's novel , author of ¨Shane¨ . The film starts at the ending XIX century when appears railway , big companies buy ranches and new technologies put difficult things for traditional cowboys who lost their jobs . Monty Walsh (Lee Marvin) a veteran cowboy sees declining the ending days of Wild West era and the transition to a new century where horses are left . As railway and barbed wire hardly eliminate the need for the cowboys who are yearning the freedom of the open prairie . The aging cowboy realizes that the West he knew and loved will soon be no more and that there will be no room for him, either . In spite of penury , shortage and obstacles he faithfully carry out his thoughts and wishes and he goes on being a good cowboy . Monty along with his best friend (Jack Palance , this is one of only a few occasions where Jack is not cast as a villain and giving a touching acting) transport a herd of horses across the countries . Their lives are divided between months on the range and the occasional trip into town . They find themselves like dinosaurs in an old West that's dying out . Monty has a long-term relationship with a prostitute named Martine Bernard , while Chet has fallen under the spell of the widow who owns the hardware store. Monte Walsh and his partners are left with few options for survive , tough new jobs opportunities are available. Round-up , go riding and relationship with the other cowboys fill their days, until one of the hands , Shorty Austin (Mitch Ryan) , loses his job and gets involved in rustling and killing . Aging cowboy Monty is a good and professional man and embarks on mission to avenge his colleague .

Moving and sensitive Western where the cowboys must say goodbye to the lives they know and some of them attempt to make a new upright start and others way to crime . This melancholic picture is acclaimed like one of the best twilight Western and has a nice nostalgic feeling . It's an excellent Western with thrills , emotion , a love story , shootouts , breathtaking scenarios ; but also melancholy , competition , unlovable camaraderie and emotionalism . Moving Western , elegiac , subdued and worthwhile for genre lovers , including great Lee Marvin and Jack Palance in an unusual good guy character . However, the narration is too slow-moving to keep a fine grip on the interest . The movie was shot on location , including marvelous outdoors in Mescal, Arizona, Old Tucson, Arizona , being splendidly photographed by David M Walsh . Sensitive and stirring Western where cowboys must say goodbye to the lives they know and undergo an extraordinary and dangerous travel . Great acting for all casting with magnificent main roles from Marvin as Monty who only lives his work and is enamored for a prostitute named Countess Martine and Jack Palance as his loyal friend . Ample support cast with several familiar faces such as Mitch Ryan , Matt Clak , G.D. Spradlin , Bo Hopkins , Jim Davis , film debut of Eric Christmas and final film of veteran villain Roy Barcroft, who died before its release. Special mention to Jeanne Moreau as an aging whore who falls in love . Gorgeous landscapes , reflecting wonderfully the wide open spaces, they are splendidly photographed . Gorgeous outdoors are well photographed by cameraman David Walsh. Emotive as well evocative musical score by the great John Barry in his ordinary and brilliant style , including some wonderful songs . Sensational directorial by notorious cameraman William A Fraker . Usual and top-notch cameraman William A Fraker proves himself a proficient filmmaker in this , his first venture , though he subsequently directed another Western , a failure ¨Lone Ranger¨ . It's followed by a remake starred by Tom Selleck titled ¨Monte Walsh¨ TV (2003) by Simon Wincer with Isabella Rossellini, in Jeanne Moreau's role , Keith Carradine in Jack Palance role , George Eads, William Sanderson, Rex Linn and William Devane, role of Jim Davis . Rating : Better than average for the proficient film-making . It's a magnificent movie , and an unforgettable , unchallenged classic western.

This is a nice film to watch on a rainy evening. Lee Marvin and Jack

Palance did as good a job of acting that I have ever seen them do.

The supporting cast is full of wonderful career action character

actors who you would recognize if you watched a lot of films and

TV in the '70's.

I borrowed the tape from a relative after seeing the remake by TNT

and though I think the remake was better, this was for it's time

pretty good. The way movie progresses noticed a lot of scenes

seemed choppy and there must have been a lot left on the cutting

room floor.

Lee Marvin looked like he was playing his typical Marvin character,

but Jack Palance was likeable and I believe did a better job and

even portrayed his character better than Carradine did in the

remake and Carradine did a great job.

Though it's a "tear-jerker" it's one that tells a story that's not unique

to just the "Cowboys" of the 19th and early 20th century. There are

periods in history when due to evolution of civilization, lifestyles are

phased out or altered due to change of professions needed to

exist.

My appreciation of Mama Cass' singing increased when I heard

her sing the title song. She really had a fine voice, it was a plus

that she sung the lead-in rather someone like Joplin. In fact

before I saw her credits in the lead-in I thought the singer was one

of the great singers who had sung a James Bond movie title song.

When "Monte Walsh" appeared in 1970, I avoided it like the plague. "Who wants to see a movie about the end of an era?" I asked myself, conveniently forgetting how much I loved "The Man Who Shot Liberty Valance." So, nearly 30 years later, Turner Classic Movies gave me the opportunity to correct what might have been a mistake. Had I erred in 1970? Well, yes and no. Yes, because "Monte Walsh" now joins my list of one of the five best westerns ever made; and, no, because at the tender age of 21, I would not have appreciated this masterpiece; which, in these especially troubled times, seems more relevant than ever.

According to TCM host, Robert Osborne, William Fraker directed only 4 films during his distinguished career, preferring his role as director of photography. If "Monte Walsh" is any example, then director Fraker missed his calling; as, "Monte Walsh" boasts outstanding ensemble acting, unusual unless the director is especially gifted. Many in this cast give the best performances of his or her career, particularly Jim Davis and Mitchell Ryan. "Monte Walsh" should be the role for which Marvin is remembered, as "Chet" should be the role to remember Jack Palance. It's a joy and a privilege to watch Marvin and Palance interact, even more enjoyable than Marvin and John Wayne in their frequent pairings. The first two thirds of "Monte Walsh" is largely upbeat, even in the hard times portrayed, while the final third left me both numb and aching.

"I won't p**s on 30 years of my life," is one of the many profound quotations in "Monte Walsh." It defines Monte's code of honor; a decent, loving and honorable man unwilling to compromise who he is. I give "Monte Walsh" a "10".

Monte Walsh is the debut feature of cameraman-turned-director William A.Fraker. It stars Lee Marvin (Monte Walsh) & Jack Palance (Chet Rollins) as two ageing cowboys who find that the era of the cowpoke is coming to an end; and that work for them is now very hard to come by. Adapted by David Zelag Goodman & Lukas Heller from Jack Schaefer's novel, Monte Walsh is a gentle but astute telling of men who have outlived their time (think Will Penny/Ride The High Country). Though very sedate in pacing, and almost elegiac in tone, the film constantly remains interesting because the characters are so well written. That they are given quality portrayals by Marvin & Palance, the latter of which is nicely cast against type, is possibly of no surprise to most genre fans. But both actors push themselves to really make the film work, even exuding believability in the process. Thus when the story takes its potent laced turns we are with them all the way, for better or worse.

John Barry provides the music and the film opens with a delightful and ironic tune called "The Good Times Are Comin" sung by Mama Cass. The cinematography is by David M. Walsh, where he nicely manages to make the Tuscon part of the shoot blend with the emotional state of our protagonists. And decent support comes from Mitch Ryan too. There's also much humour in the piece, such as a cooks revenge that is laugh out loud funny. While there's action moments like a taming a bronco sequence to ensure the story is not solely interested in playing out as a sad atmospheric tale. But it's really all about Marvin and the character he plays, with Fraker guiding him to emotional depth, Marvin makes Monte Walsh an essential viewing for fans and interested newcomers alike. 7/10

This is one of my favorite Westerns.

Yet, it cannot boast of a gunfight or excessive action that is a trademark of westerns.

There are several reasons why I love this film. It is a reflective sensitive film, with the main character trying to come to terms with change.

It deals with people and nature--fodder for good poetry. That gets a fillip when the director William Fraker, is an accomplished cinematographer.

Lee Marvin is great when he is brooding and therefore a superb choice. Jeanne Moreau is a delight to watch in any film but her performance in this film is one I will never forget. Yet when I asked Ms Moreau some 15 years after the film was made about this film, she didn't even appear to recall the name of William Fraker--but merely referred to him as another cinematographer-turned-director. I have always wondered at that reaction....Jack Palance is another wonderful actor who makes this movie great.. In retrospect the casting was superb.

A good western needs good music. This one has one of the finest songs I have heard "the good times are a'coming" by Mama Cass Elliot.

I recommend this film and "Will Penny" as great unusual westerns that touch you if you appreciate good filmmaking--and do not evaluate a western by the action sequences.

Here's a case of Palance putting in a great supporting role like he has done so often, a truly selfless actor with a great humility.

Seldom does an actor allow himself to look as pathetic as Palance does in his performances. This is a great film, primarily due to the metaphor near the end where Marvin tries to tame a horse, frustratingly attempting to control the nature of all things around him. The austere writing and stilted acting lend to the overall tone, creating an elegiac western greatly under-appreciated in its time. One of those small, offbeat movies awash in a decade of so many sparkling little films, each challenging the strictures of Hollywood. I loved it.

I waited a long time to see 'Monte Walsh', from having seen the trailer when it first came out & thinking it did not look all that good. Over the years I kept hearing tales about it's qualities and had to take a look.

The first half had the look and feel of a 70's John Wayne punch 'em up western without the Duke anywhere to be found. I almost gave up till it took an unexpected turn towards the profound. Perhaps if this film's screenplay writers had stuck a little closer to Jack (Shane) Schaefer's original writing, it might have told it's story of the last days of the American west more convincingly.

The marvelous French Jeanne Moreau tries hard to make her character's sorry life believable but I'm feeling she may have thought the role a little below her best interests. Her character, as Monte's long time 'girlfriend' (with a shady past time) actually gives this film it's most tragic moments - she brings this story to it's ultimate finale. Marvin as Monte, has some effective moments but the screenplay wavers too much between slapstick and tragedy, letting both he and the always reliable Jack Palance down.

A spectacular but overly grotesque horse breaking scene in the last half looks more like an attempt at lifting the films otherwise deliberate pace. Some good elements unfortunately don't add up to an entirely satisfying story about the dying lifestyle of the west. Ex director of photography William Fraker tries his hand at his first directorial effort and John Barry's score adds some class to an otherwise 'should have been better' movie.

A few reviewers tend to like this effort, and if you enjoy 70s American westerns this could entertain you. The available DVD is of good visual quality and that always helps.....KenR

I'm not a newcomer to Westerns and I'm pushing 72. I've had a life-long interest in the American West, studied its history, and even wrote a novel set in the 19th century. Somehow, I never got around to watching 'Monte Walsh' until recently, though I'd heard it was supposed to be a bit of a classic. While I wanted so much to like it given its cast and genre, it just did not hook me. This despite the fact that Lee Marvin is one of my favorite actors and in his prime. The film didn't hit many right notes for me. Something was off. None of the characters really grabbed me. Marvin was fantastic in 'The Man Who Shot Liberty Valance', 'The Professionals', and 'Cat Ballou'. Heck, he even did well in the atrocious 'Paint Your Wagon'. And those were just his westerns. He appeared to coast through this role. The usually dependable Jack Palance, to me, phoned in his role. A story of friends aging in the passing of the West was done so much better in 'Lonesome Dove' and 'The Wild Bunch'. Marvin and Palance were miles better in 'The Professionals'. I have no idea what the casting director had in mind when they cast Jeanne Moreau. She was completely unbelievable. It may be that the film just has not held up well in comparison to many others. I've watched most of John Wayne's films over years along with all the Spaghetti Westerns, all the TV shows, Tom Selleck and Sam Elliot's work, and everything in between. I know my subject matter and this film doesn't cut it for me. JMO.

Very little action or drama, more of a character study looking at the disappearing cowboy in a time of change.

Its a bit bleak in many places with the majority of characters feeling despondent and hopeless as things change.

This film does contain the most ridiculous horse related scene I have ever watched!

One thing this film does do is it gets better as it moves along.

Don't expect a great shootout movie and you may find this quite enjoyable :)

Lee Marvin and Jack Palance were known for playing villains in westerns.

Palance was the baddie in Shane. Marvin won an Oscar for his dual role as a grizzled drunk and the villain in Cat Balou. Palance would also win an Oscar later in life playing a grizzled cowboy in the modern City Slickers.

In Monte Walsh both play good guys in a changing landscape. The era of the cowpoke are coming to an end. Chet (Jack Palance) calls it a day, marries a widow and runs a general store. Monte (Lee Marvin) continues trying to find work on a ranch and even toys taking part in a rodeo show.

Danger arrives when Chet is confronted by Shorty, a cowboy wanted for rustling and later for shooting a lawman dead. It is up to Monte Walsh to look for revenge.

In the 1970s there were a slew of westerns looking at cowboys as a dying breed. An era coming to an end when less westerns were being made by Hollywood.

Monte Walsh is a melancholy contemplative western. Its big selling point are the actors. Palance is excellent and makes you think why he was not given such character parts more often. There is Jim Davis who would later become famous as Jock Ewing in Dallas.

This is a poignant western about the decline of the cowboy and his way of life which has been told in several other films, but not quite as affecting as this one. It was filmed lovingly by William Fraker, who is first and foremost a cinematographer. Lee Marvin and Jack Palance play off each other beautifully and one can feel the deep bond of friendship. There are some questionable editing choices and Fraker does overuse John Barry's score although it is quite beautiful to listen to. Some may find this film a bit boring since it contains few shootouts, no chases on horseback and is low volume on the blood and guts. What you will get is a moving story about friendship,life on the range and standing up against evolutionary change.

So says Monte's friend as they sit on a front porch, wondering what they'll do now that their way of life is coming to a close. One of the most touching and poignant westerns ever made, "Monte Walsh" is a love poem written to a way of life that only lasted about 20 years, but defined much of American culture. The cowboy period only lasted from about 1865 to 1885, and this film shows several friends who have been cowboys for most of that time, deeply in love with their work, who see it all ending, and are powerless to stop it. Barbed wire fence and one really hard winter (which really did happen, and single handedly changed the western cattle industry, and eradicated the cowhand) do away with their blissful existence, forcing them to confront themselves. What do they do now? It isn't always pretty, and the decisions they make when the chips are down tell you most everything you need to know about human nature. The wonderful theme song by Mama Cass Elliot "The Good Times Are Coming" is just marvelous, and perfect for the film. All in all, one of the 5 best westerns ever made, and the absolute best one dealing with the working cowhand culture. Don't watch this movie if you are embarrassed about crying, because it will break your heart. Truly a work of art. The words "I rode down the gray" will haunt you for the rest of your life.

An evocative and elegiac western from that turning point year- 1970. Its narrative is about unemployment, aging and progress in the West. Some of the flair imagery recorded by David M Walsh's camera is amazing - dozens of wild palomino and white horses running at speed in a valley; the set-piece when Marvin's Monte Walsh character has to show conviction and boost his self-image by 'breaking in' a wild white stallion in a town centre setting - the silverhaired Marvin sports a blue-and-white striped shirt; elegant furnishings and decorations in the interior settings in saloons and bordellos including the golden amber nectar reflections in a brandy bottle or the chirping of caged yellow canary birds. The dramatic music composed by Yorkshireman, John Barry is marvellous as is the theme tune -'The Good Times are Coming' sung by '60s hippie US pop singer Mama Cass. Jeanne Moreau adds Gallic style as the aging prostitute Martine Bernard.

A Modern classic spearheaded by an intelligent script, excellent performances, beautiful photography and an outstanding score. Lee Marvin is at his rugged best in the title role with typical solid support from Jack Palance, who is excellent here cast against type. That this great western was finally released on DVD LONG after the REMAKE is just wrong. And I do not mean that as a slam against the Tom Selleck/TNT version which was a well done rehash that I also enjoyed. MONTE WALSH stands beside WILL PENNY as 2 pillars of the "vanishing cowboy" genre. It seamlessly morphs from action to pathos, poignant to laugh-out-loud funny. One of Lee Marvin's best roles.

I am a big fan of westerns. I've read at least a dozen books of western films. Almost all of those books have high praise for "Monte Walsh". But for me, it always misses the mark. There are a few great moments in this movie. There are also a lot of strong performances, especially by Jack Palance. The movie looks great and the music fits the mood perfectly. The movie, however, is just too melancholy. "Monte Walsh" is just too much of a downer. When they throw in some humor, I laugh. But then something sad happens. I will never criticize anyone for liking "Monte Walsh". There is a lot to like but for me it's never quite as satisfying a movie as I would like.

As the open-range West dies in the 1890s with corporations taking over the ranches, two aging cowhands try to survive in the new era of fenced-in land (Lee Marvin and Jack Palance). While they set their eyes on women and possible marriage (e.g. Jeanne Moreau), out-of-work cowboys become desperate (e.g. Mitchell Ryan).

"Monte Walsh" (1970) is similar to Charlton Heston's "Will Penny" from 2.5 years earlier, but it cost almost four times as much and yet "Penny" is arguably the better Western. They're at least on par, although "Penny" is hampered by its subplot of cartoony villains and an ending that leaves a sour taste.

This was remade in 2003 with Tom Selleck, Keith Carradine and Isabella Rossellini in the key roles, the difference being that this version was shot in Arizona whereas the newer one was filmed in Alberta. Each locale fits the story but they offer dissimilar milieus, which makes both worth checking out.

The story starts sorta dull as it shows the everyday mundane life of the cowhands mixed with the camaraderie and humor necessary for enduring such an existence. The second half, however, takes a heavy, dark turn and is more compelling with a highlight being the knock-down drag-out bronco busting scene that damages an entire town (back in the day when there was no CGI and so sequences like this were actually staged & shot).

I also liked the palpable love displayed between Monte and his woman, as well as the subplot of desperate men doing foolish things in desperate times. The story is nigh elegiac in tone as we witness the limited opportunities for tough Westerners as their way of life is stifled by progress.

The film runs 1 hour, 46 minutes.

GRADE: B.

Noble intentions do not necessarily make a satisfying film. "Monte Walsh" has good acting, a good score and generally good sequences scattered about....BUT, it's just not terribly interesting. There's just not enough action here - physical OR emotional. The script lacks focus and most of the time it seems to meander around with no particular purpose. A no more than OK film. (**1/2)