Nothing gets my blood a boilin' somethin' hot more than watching a rugged, brutal, mighty manly man adventure yarn done with plenty of grit, style, and insight. This truly terrific allegorical Depression-era period action doozy concerning the legendary, almost mythical rivalry between train-jumping hobos and the railwaymen who went out of their way to keep these lowly bums in their bottom-rung-of-the-socioeconomic-ladder-place most definitely fits that particular bill with astonishing deftness.
Lee Marvin rules the day with his customary effortless virile charm and cool, dry humor as A#1, the greatest of all train-hopping hobos who's rightfully revered as a god by his fellow dingy derelicts. Keith Carradine likewise holds his own as Cigarette, the brash punk tyro kid who Marvin teaches the basic hobo ropes to. Ernest Borgnine delivers a fierce, growly, volcanically hostile and quite intimidating portrayal of cruel, callous, "screw with me buster and I'll wipe the floor with your face" stomp-ass villainy as the Shack, an exceptionally mean and ferocious train conductor who would just love to clean A#1's clock but good. A#1 vows to do the seemingly impossible by riding the Shack's train all the way to Portland and living to tell the tale.
The always on-target, sorely missed Robert Aldrich directs this engrossing story with his trademark tautly wound, very blunt and forceful sinewy élan. Christopher Knopf's meaty, deep-diggin' script offers a fascinating examination of man's desire to amount to something in life regardless of the station he holds, how status has to be earned (here given a compelling old guard vs. the new generation spin thanks to the teacher and student relationship between Marvin and Carradine), the need for achievement, and the harsh victimization of the poor by the working class. Joseph Biroc's sharp cinematography gives the lush, verdant Oregon wilderness a lovely autumnal look. The fabulous supporting cast reads like a veritable who's who of 70's character actors: Charles Tyner, Matt Clark, Harry Caesar, Elisha Cook, Jr., Simon Oakland, Vic Tayback, Sid Haig, and even Lance Henrikson in a "blink and you'll miss him" uncredited bit part as a railroad worker. Marty Robbins heartily belts out the stupendously rousing theme song. And the final literal duel of the titans fight between Marvin and Borgnine -- these two really get down and dance a bloody boogie, tearing pieces out of each other's hides with chains, hammers, their own feet and bare hands, and even an enormous ax -- rates as the authentic gnarly article. It's without a doubt the greatest two ugly actors making themselves uglier in a very ugly knock-down, drag-out savage smack-down every filmed -- and an immensely satisfying conclusion to this simply sensational movie.
Lee Marvin rules the day with his customary effortless virile charm and cool, dry humor as A#1, the greatest of all train-hopping hobos who's rightfully revered as a god by his fellow dingy derelicts. Keith Carradine likewise holds his own as Cigarette, the brash punk tyro kid who Marvin teaches the basic hobo ropes to. Ernest Borgnine delivers a fierce, growly, volcanically hostile and quite intimidating portrayal of cruel, callous, "screw with me buster and I'll wipe the floor with your face" stomp-ass villainy as the Shack, an exceptionally mean and ferocious train conductor who would just love to clean A#1's clock but good. A#1 vows to do the seemingly impossible by riding the Shack's train all the way to Portland and living to tell the tale.
The always on-target, sorely missed Robert Aldrich directs this engrossing story with his trademark tautly wound, very blunt and forceful sinewy élan. Christopher Knopf's meaty, deep-diggin' script offers a fascinating examination of man's desire to amount to something in life regardless of the station he holds, how status has to be earned (here given a compelling old guard vs. the new generation spin thanks to the teacher and student relationship between Marvin and Carradine), the need for achievement, and the harsh victimization of the poor by the working class. Joseph Biroc's sharp cinematography gives the lush, verdant Oregon wilderness a lovely autumnal look. The fabulous supporting cast reads like a veritable who's who of 70's character actors: Charles Tyner, Matt Clark, Harry Caesar, Elisha Cook, Jr., Simon Oakland, Vic Tayback, Sid Haig, and even Lance Henrikson in a "blink and you'll miss him" uncredited bit part as a railroad worker. Marty Robbins heartily belts out the stupendously rousing theme song. And the final literal duel of the titans fight between Marvin and Borgnine -- these two really get down and dance a bloody boogie, tearing pieces out of each other's hides with chains, hammers, their own feet and bare hands, and even an enormous ax -- rates as the authentic gnarly article. It's without a doubt the greatest two ugly actors making themselves uglier in a very ugly knock-down, drag-out savage smack-down every filmed -- and an immensely satisfying conclusion to this simply sensational movie.