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Tough-guy actors have defined cinematic cool with their steely portrayals of gunslinging cowboys on both sides of the law. This classic movie collection features 20 of the Western genre`s biggest icons in 20 of their most gallivanting screen roles: John Wayne in ANGEL & THE BADMAN (1947); Errol Flynn in SANTA FE TRAIL (1940); Clark Gable in THE PAINTED DESERT (1932); Bob Steele in NEVADA CITY (1941); George
Gabby
Hayes in FIGHTING CARAVANS (1931); Gary Cooper in MY OUTLAW BROTHER (1951); Robert Stack in ABILENE TOWN (1946); Randolph Scott in STAMPEDE (1949); Rod Cameron in BILLY THE KID RETURN (1938); Roy Rogers in LIGHT OF THE WESTERN STARS (1940); Alan Ladd in BOSS OF BULLION CITY (1941); Johnny Mack Brown in RANGE DEFENDERS (1937); Ray
Crash
Corrigan in PHANTOM THUNDERBOLT (1933); Key Maynard in HITTIN` THE TRAIL (1937); Tex Ritter in DAWN ON THE GREAT DIVIDE (1942); Buck Jones in CAVALCADE OF THE WEST (1936); Hoot Gibson in GANGSTER`S DEN (1945); Buster Crabbe in FRONTIER FURY (1943); Charles Starrett in ACES AND EIGHTS (1936); and Tim McCoy in ARIZONA GUNFIGHTER (1937). See individual titles for plot synopses.
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Roy's a federal official helping a Christmas tree grower sabotaged by a tree wholesaler's crooked agent.DVD Features:Region 1Keep CaseFull Frame
- 1.33
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A young Robert Mitchum stars as Pecos Smith in this classic Western, adapted from a novel by Zane Grey. Chicago tycoon Col. Lamberth (Thurston Hall) is prescribed a vacation by his doctor, so he heads out to his hacienda with his feisty daughter Rill (Barbara Hale). En route to Texas, Rill is accosted by some roughnecks and she decides to pass herself off as a boy. Subsequently, father and daughter witness the murder of a stagecoach driver (Bill Williams), a crime for which Pecos is blamed, while the true perpetrator is Brad Sawtelle (Harry Woods). After Pecos helps out the travelers, Rill convinces her father to hire him and his Irish-Mexican sidekick, Chito. Pecos soon finds out Rills true gender and love ensues, but Sawtelle still has a bone to pick, and by the time they reach the hacienda a full-fledged war has broken out.
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Gene Autry, the singing cowboy, is featured in four classic westerns in this collection. Titles included are THE BIG SHOW, BOOTS AND SADDLES, SPRINGTIMEIN THE ROCKIES, and RIDERS OF THE WHISTLING PINES. Individual titles contain synopses.DVD Features:Region 1Keep CaseFull Frame - 1.33Interactive Features: Interactive Menus Scene Access
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The legendary John Wayne appears here in three classic westerns: ANGEL AND THE BADMAN, WINDS OF THE WASTELAND, and MCLINTOCK.ANGEL AND THE BADMMAN: An old-fashioned Western with John Wayne at his best as a gunfighter who must choose between the girl he loves and his guns. When outlaw Quirt Evans (Wayne) is wounded during a bank robbery, he is taken in by a gentle Quaker family and nursed back to health by their lovely daughter Penelope Worth (Gail Russell). Quirt begins to rethink his violent lifestyle after falling in love with Penelope and being hounded by his rival Laredo Stevens (Bruce Cabot) and a laconic U.S. marshal named Wistful McClintlock (Harry Carey). With its excellent script, quirky characters, and a sweet-natured blend of comedy and action, ANGEL AND THE BADMAN is justly considered one of the best Westerns ever made.WINDS OF THE WASTELAND: This early western from 1936 stars Wayne as a one of two rugged westerners with little business experience who buy a stagecoach line to compete with the arrival of the telegraph. Jon Blair (John Wayne) and Larry Adams (Lane Chandler) must obtain the mail delivery contract in order to continue their days with the Pony Express, but face many obstacles from crooks trying to undermine them along the way.MCLINTOCK: Wayne shows off his funny side in this 1963 western, a comedy inspired by THE TAMING OF THE SHREW. Starring as wealthy cattle baron G.W. McLintock, Wayne shows a real sense of comic timing in several scenes filled with slapstick humor. After his wife (Maureen O'Hara) and daughter leave him for the East, McLintock attempts to win them back. The dynamics between O'Hara and Wayne are the strong suit of this film, the actors having worked together previously on THE QUIET MAN. As this is by no means a revisionist western, McLintock's chauvinistic attempts to tame his wife fit within the problematic ideology of the larger western genre. The ultimate example of this comes at the end of the fil
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