James Stewart made two Westerns in the 1970s, The Cheyenne Social Club in 1970, when he was 62, and the part he played supporting John Wayne in The Shootist in 1976, when he was 68.
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As part of the beefing-up process came the opening dialogue (or rather monologue) over the titles and opening credits. It turned out to be the high spot of the picture and set the tone of the relationship between the two characters very well. You probably know it: Fonda drones on and on as the pair travel across the vast Western landscape, about his family and dogs and heaven knows what all else. Finally, Stewart speaks up:
“You know where we are now, Harley?”
“Not exactly.”
“We’re in the Wyoming Territory and you’ve been talkin’ all the way from Texas.”
Harley looks hurt. “Just been keepin’ you company.”
“I appreciate it, Harley, but if you say another word the rest of the day I’m gonna kill you.”
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Texas, 1867. Cowpoke John O’Hanlan (Stewart) has inherited property in Cheyenne and accompanied by his pardner Harley Sullivan (Fonda), rides up to claim it. It turns out that the ‘social club’ they have acquired is a popular bordello. Harley is happy to enjoy its services but John, more prudish, decides to close it down. This very unpopular move leads to all sorts of complications with the badman Bannister (stalwart heavy Robert J Wilke) beating up the brothel Madam (Shirley Jones, very good) and Harley gunning him down in revenge. Now Harley has poked a stick into a hornet’s nest, for the whole Bannister clan wants revenge…
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It was a very bad time for Stewart. He received news that his stepson Ronald had been killed in Vietnam. He was increasingly deaf. His poor old horse Pie, of which he was inordinately fond, was dying. It must have been hard to act in a comedy. Fonda was a huge support to him (and painted Stewart a charming portrait of Pie which Stewart treasured).
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Few would pretend that The Cheyenne Social Club is a great Western. It is, however, charming and to see the two great Western heroes in harness in their declining years is very enjoyable. Despite Barrett’s iffy record as Western writer (Shenandoah, Bandoloero!) he dialogue is amusing. There’s good William Clothier photography of some New Mexico locations and the excellent John Dehner has a small part.
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The movie has its weaknesses. There are plot inconsistencies and the pacing is poor. The writing sought to be daring about the brothel setting yet Disneyesque about its goings on, a hard tightrope to walk. Stewart took umbrage even at the PG rating but what did he expect in 1970 of a movie about a whorehouse?
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But we forgive it all for the easygoing friendly rapport between the two principals.
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One Response
Charming and nostalgic, with the two old friends, in the movie and in the real life, being in the sunset of their professional life… The dialogue between Fonda and Stewart is delicious and the chemistry between them is excellent all along the film and worth of a screwball comedy, a genre in which both excelled earlier in their careers.
Beside of Dehner and Wilke, I like also very much the immense Robert Middleton – in a magnificent probably tailor-made red vest considering the size ! – and he should be added in your bottom labels.
JM