It’s true that for the last few decades, the Westerns have become less popular even though there are still occasional hits theatrically and its influence is everywhere. Kevin Costner’s recent attempt to bring the genre back to the big screen failed, but it’s admirable that there are still filmmakers who want to keep the old-school westerns alive in theatres and not just on Taylor Sheridan’s shows. Then again, obviously, the genre is more than just traditional/old-school kind. Many filmmakers put their own twist on the formula, and this list aims to have them all: from character-driven dramas to genre-blending tales.
This variety is what makes the genre so fascinating: to a non-fan, Westerns might all look the same, but a deeper exploration reveals a multitude of perspectives on the American West. The Western has evolved significantly over the years as a genre, reflecting changes in societal values and cinematic trends, making it captivating to observe these transformations. In this list, you will find ten Western films that are hopefully diverse, ranging from genre-bending ones to revisionist “anti-Westerns” to more traditional stuff. So hopefully, regardless of what kind of western you like, you might find something for your taste here.
10. The Last Wagon (1956)
There will be different sorts of Westerns on the list but if you clicked here, perhaps you were looking for typical, more traditional, and true-to-formula types of movies and that’s why we start off with a film like that. The plot is about a white man raised by Comanche Indians who is accused of murdering the Sheriff’s brothers. When a wagon train is attacked, he becomes the leader of the survivors, guiding them through hostile territory.
As it’s been said, this is more of a traditional type of Western but there are several things that set it apart. One of them is Richard Widmark’s performance as the lead character Comanche Todd, which is a big reason why you should check this film out. It’s one of his most underrated performances; he brings his own trademarks to the role and gives us a perfect mix of ruthlessness, kindness, and charm. In his hands, the character gets more sympathetic and complex at the same time. In some scenes, you can see he’s doing some of his own stunts as well which makes the experience even richer.
The music and the cinematography are both excellent. The sets all look very authentic and the costumes also. It’s also a message movie and has things to say about American social justice. Gets extra points for its attempt to offer a nuanced portrayal of Native American culture. If you’re not a fan of “same old”, skip this one but if you can’t get enough of well-made traditional stories, then you need to give this one a shot.
9. Comes a Horseman (1978)
Compared to the other titles on the list, this one is a little more popular as Alan J. Pakula’s filmography is still celebrated around in internet circles and the leading cast is full of well-known names. That said; this film which deserves to be called a classic still doesn’t get enough recognition.
Before we devolve into other aspects, cinematography should get a mention first. When you watch this film you realize how much the Academy did wrong to the prince of darkness that is Gordon Willis. The cinematography is so lush, so mesmerizing that at times you stop paying attention to the story but just focus on its beautiful visuals. However, the movie is a stand-out for other reasons as well, in how it explores partnership and the encroachment of modernity on traditional ways of life. James Caan is fine, he has some solid on-screen chemistry with Jane Fonda but it’s she and especially the great, underrated Richard Farnsworth’s scene-stealing performances that stay with you the most.
It’s understandable why it didn’t get bigger than it deserved. Pakula was doing great films back-to-back, and he was collaborating with his “Klute” star, so when the film didn’t connect with people they saw it as a failed prestige project. Sure, there are obvious flaws in the film, Pakula doesn’t bring the intensity of his previous films “Klute” and “All the President’s Men”, and the ending doesn’t strike as it should. Yet, it’s still a worth-watching experience because it’s an unusual kind of western, with an interesting love story and will particularly appeal to those who don’t mind slow-pacing.
8. Zandy’s Bride (1974)
Continuing with a film that some would deem “artsy” and no wonder why, the Swedish director Jan Troell was delivering back-to-back acclaimed dramas at that time and he then decided to make a film in America. Despite starring two names well-known to cinephiles everywhere, “Zandy’s Bride” is a rather obscure entry in their respective filmographies.
Set in 1870 in Northern California, Hackman plays Zandy Allan, a gruff cattleman who enters into a mail-order marriage with Hannah Lund (played by Liv Ullman). Hannah is a strong-willed woman who refuses to be treated as some sort of property but don’t think of it as a typical romance story where a warm woman melts a cold man’s heart and they live happily ever after. It’s rather complex and dark than a film with such a subject would suggest in mainstream American cinema.
The movie navigates the hardships of this kind of pioneer life but also powerfully explores a tumultuous marriage. Even though their relationship has bitterness, it also turns into a deep but also complex bond. The filmmakers treat the psychology of our lead characters with such sensitivity. They’re written and played with full of inner tension. The cinematography has its own poetic, compelling look and the lead performances are both brilliant, bringing authenticity to their well-developed characters. It didn’t get much positive response from the critics back then but given how unusual kind of a film it is, maybe it’s time for re-consideration.
7. The Culpepper Cattle Co. (1972)
Now after a character-driven relationship drama, we move on to a coming-of-age western this time. The early 70s of American cinema brought us some revisionist Westerns that had a sharp contrast to the romanticized vision often depicted in previous eras. “The Culpepper Cattle Co.” is one of the best films of that era and interesting enough is also Jerry Bruckheimer’s first producing credit who stayed away from realistic films like this over the years since then.
The film is about a young man Ben Mockrdige who’s just cowboyin’ around until he meets Frank Culpeppe and asks him if he can join his cattle drive to Fort Lewis, Colorado. He will soon discover the brutal, harsh realities of the life he idolized and how this world has no respect or interest in the young, how it is full of selfish people and certainly not full of heroes.
The movie was widely praised for its attention to detail and deservedly so, it has so many nuances that should be recognized. However, one thing the film should be applauded for is how strong and uncompromising it is when it comes to portraying the psychological and physical toll of cowboy life. The cast is full of excellent performances and some of them is familiar to western viewers, including the much underrated scene-stealing Geoffrey Lewis. He never got the attention he deserved probably and here he delivers one of his finest performances in the genre.
6. Wild Rovers (1971)
Yet another western film that’s not necessarily your traditional kind, this one is a “buddy” western film if there’s such subgenre as most of the film deals with the friendship between our two lead characters. Not the type of film most people would think of when they hear the name Blake Edwards but with “Wild Rovers” he delivered a melancholic, moving film, There are obviously some light elements that make it obvious that it comes from Edwards but still, his use of action is impressive and even though it’s been said that large part of the film has been re-cut by the studio much to Blake’s dismay, the resulted film still works a lot.
It has some of the other trademarks of Blake’s filmography such as very well-written, sharp dialogues and the lead actors William Holden and Ryan O’Neal are doing a great job with them. O’Neal, in particular, was having a great era back in the time where he was shining in roles that had wit dialogues, as in his films with the great Peter Bogdanovich. Here they play two cowboys who decide to rob a bank and flee to have a better life. The robbery part is not too exciting but it doesn’t matter because the leading chemistry, amazing Jerry Goldsmith score (whose music is also used in “The Culpepper Cattle Co”), and gorgeous cinematography makes this entertaining enough to overcome its flaws. Surprisingly thoughtful also.