Legendary producer David O. Selznick dreamed of another magnum opus like his 1939 production of Gone with the Wind; he also purposed to make Jennifer Jones, his ladylove and eventually second Mrs. Selznick, a megastar. Accordingly, he micromanaged the making of Duel in the Sun (Lust in the Dust to some), an extravagant Technicolor epic about the collision of the old West with the new, wide-open spaces with railroads and barbed wire, and hot-blooded outlaws with civilized folk, often wimpy or unwell. Beginning among giant rocks drenched in a blood-red sunset, with velvet-voiced Orson Welles intoning the leibestod legend of doomed Pearl Chavez and her demon lover, Duel never strays far from lush romanticism, spiced with a dash of S/M. Orphaned Pearl (Jones) comes to live at Spanish Bit Ranch, where frail Laura Belle McCanles (Lillian Gish) tries to make a lady of her, despite her questionable origins and insistent voluptuousness. Sexual license versus law--Pearl's choices--are symbolized by the McCanles brothers: dark, undisciplined Lewt (a lubriciously wicked Gregory Peck) and reasonable, forward-looking, repressed Jesse (Joseph Cotten). The cast is huge (Lionel Barrymore, Walter Huston, Harry Carey, Herbert Marshall, Charles Bickford, Butterfly McQueen) and there are unforgettable set pieces: summoned by a cacophony of bells, the gathering of McCanles cowboys from the four corners of the earth; Pearl in heat, clutching Lewt's leg and being dragged across the floor as he makes his getaway to Mexico; and the lovers' final shootout among those red rocks, as orgiastic a finale as you could ask for. --Kathleen Murphy

Studio: Sony Pictures Home Ent Release Date: 05/13/2008

After they first worked together on the 1966 film This Property Is Condemned, director Sydney Pollack and Robert Redford continued their long-lasting collaboration with Jeremiah Johnson, a 1972 drama set during the mid-1800s, about one man's rugged effort to shed the burden of civilization and learn to survive in the wilderness of the Rocky Mountains. Will Geer is perfectly cast as the seasoned trapper who teaches Jeremiah Johnson (Redford) how to survive against harsh winters, close encounters with grizzly bears, and hostile Crow Indians. In the course of his adventure, Johnson marries the daughter of a Flathead Indian chief, forms a makeshift family, and ultimately assumes a mythic place in Rocky Mountain folklore. Shot entirely on location in Utah, the film boasts an abundance of breathtaking widescreen scenery, and the story (despite a PG rating) doesn't flinch from the brutality of the wilderness. --Jeff Shannon

The first feature film to be photographed and projected in the panoramic three-camera Cinerama process, the epic Western How the West Was Won is almost as expansive as the West itself, chronicling a pioneering family's triumphs and tragedies in numerous episodes spanning three generations and a half century of westward movement. Divided into five segments directed by veteran Hollywood filmmakers Henry Hathaway, George Marshall, and the legendary John Ford (and including uncredited sequences directed by Richard Thorpe), the film was one of the most ambitious ever made by the venerable MGM studio. Its stellar cast reads like a virtual who's who of Hollywood's biggest stars. Debbie Reynolds plays a sturdy survivor of many pioneering dangers, and the eventual widow of a gambler (Gregory Peck), who is later reunited with her nephew (George Peppard), a Civil War veteran and cavalryman who heads for San Francisco as the transcontinental railroad is being built. Many more characters and stories are woven throughout this epic film, which is dramatically uneven but totally engrossing with its stunning vistas and countless outdoor locations in Illinois, Kentucky, South Dakota, Monument Valley in Arizona, California, Colorado, and elsewhere. --Jeff Shannon

Attempting to do for Westerns what his Guns of Navarone had done for World War II action epics, director J. Lee Thompson crafted Mackenna's Gold as a lavish, absurdly ambitious variation on Erich Von Stroheim's Greed, resulting in a last-gasp Western so eager to encompass the genre's traditions that it turns into a big, silly, wildly entertaining mess. Gregory Peck surely had more serious intentions when he signed on, and he brings prestigious gravitas to his glum role as Marshall Mackenna, who gets shanghaied into searching for the gold-filled canyon of an elusive Apache legend. The rest of the 1969 film labors to undermine Peck's respectable demeanor; how else to explain Omar Sharif as a Mexican villain, Julie Newmar as a hot-blooded Apache temptress (with underwater nude scenes that were celebrated in Playboy magazine), and a jaw-dropping finale that's so ridiculous it's impressive in spite of itself?

Formerly blacklisted screenwriter Carl Foreman and composer Dimitri Tiomkin joined up to coproduce the film, and one can only imagine how Anthony Mann or Howard Hawks might've handled Foreman's sensible script. Thompson goes for scenic splendor, heavy action, and heavier emotions, casting everything at a fever pitch that's wildly enjoyable without betraying his "serious" intentions. A stable of Hollywood veterans (Eli Wallach, Raymond Massey, Edward G. Robinson, and others) appear in lively supporting roles--they're all dispatched in a garish Apache ambush--and Camilla Sparv is an ingénue with plenty of fighting attitude. Gold fever reaches its peak, along with some awesome special effects, and divine intervention reaches new heights of intensity. Top it off with José Feliciano's theme song, and you'll be in zany Western heaven. --Jeff Shannon

Studio: Sony Pictures Home Ent Release Date: 04/22/2008

William Wyler directed this epic Western, about the clash of East and West, intellect and action. Gregory Peck stars as a sea captain who moves way out West to marry Carroll Baker and become part of the ranch owned by her father (Charles Bickford). But he discovers that daddy's top hand (Charlton Heston) carries a torch for Baker and doesn't particularly like Peck stepping into his place. Peck also finds himself caught in the midst of a power struggle between Bickford and his surly neighbor, Burl Ives (and his reprehensibly bullying son, Chuck Connors). This long, sprawling tale works because its characters are played by movie stars who know how to command the big screen in a big story. --Marshall Fine

Legendary producer David O. Selznick dreamed of another magnum opus like his 1939 production of Gone with the Wind; he also purposed to make Jennifer Jones, his ladylove and eventually second Mrs. Selznick, a megastar. Accordingly, he micromanaged the making of Duel in the Sun (Lust in the Dust to some), an extravagant Technicolor epic about the collision of the old West with the new, wide-open spaces with railroads and barbed wire, and hot-blooded outlaws with civilized folk, often wimpy or unwell. Beginning among giant rocks drenched in a blood-red sunset, with velvet-voiced Orson Welles intoning the leibestod legend of doomed Pearl Chavez and her demon lover, Duel never strays far from lush romanticism, spiced with a dash of S/M. Orphaned Pearl (Jones) comes to live at Spanish Bit Ranch, where frail Laura Belle McCanles (Lillian Gish) tries to make a lady of her, despite her questionable origins and insistent voluptuousness. Sexual license versus law--Pearl's choices--are symbolized by the McCanles brothers: dark, undisciplined Lewt (a lubriciously wicked Gregory Peck) and reasonable, forward-looking, repressed Jesse (Joseph Cotten). The cast is huge (Lionel Barrymore, Walter Huston, Harry Carey, Herbert Marshall, Charles Bickford, Butterfly McQueen) and there are unforgettable set pieces: summoned by a cacophony of bells, the gathering of McCanles cowboys from the four corners of the earth; Pearl in heat, clutching Lewt's leg and being dragged across the floor as he makes his getaway to Mexico; and the lovers' final shootout among those red rocks, as orgiastic a finale as you could ask for. --Kathleen Murphy

Attempting to do for Westerns what his Guns of Navarone had done for World War II action epics, director J. Lee Thompson crafted Mackenna's Gold as a lavish, absurdly ambitious variation on Erich Von Stroheim's Greed, resulting in a last-gasp Western so eager to encompass the genre's traditions that it turns into a big, silly, wildly entertaining mess. Gregory Peck surely had more serious intentions when he signed on, and he brings prestigious gravitas to his glum role as Marshall Mackenna, who gets shanghaied into searching for the gold-filled canyon of an elusive Apache legend. The rest of the 1969 film labors to undermine Peck's respectable demeanor; how else to explain Omar Sharif as a Mexican villain, Julie Newmar as a hot-blooded Apache temptress (with underwater nude scenes that were celebrated in Playboy magazine), and a jaw-dropping finale that's so ridiculous it's impressive in spite of itself?

Formerly blacklisted screenwriter Carl Foreman and composer Dimitri Tiomkin joined up to coproduce the film, and one can only imagine how Anthony Mann or Howard Hawks might've handled Foreman's sensible script. Thompson goes for scenic splendor, heavy action, and heavier emotions, casting everything at a fever pitch that's wildly enjoyable without betraying his "serious" intentions. A stable of Hollywood veterans (Eli Wallach, Raymond Massey, Edward G. Robinson, and others) appear in lively supporting roles--they're all dispatched in a garish Apache ambush--and Camilla Sparv is an ingénue with plenty of fighting attitude. Gold fever reaches its peak, along with some awesome special effects, and divine intervention reaches new heights of intensity. Top it off with José Feliciano's theme song, and you'll be in zany Western heaven. --Jeff Shannon