Rooster Cogburn


1h 47m 1975
Rooster Cogburn

Brief Synopsis

An aging U.S. Marshal and a minister's daughter join forces to catch a band of outlaws.

Film Details

Also Known As
Huka dig, Rooster, nu laddar hon om
MPAA Rating
Genre
Drama
Western
Sequel
Release Date
1975

Technical Specs

Duration
1h 47m
Sound
Mono (Westrex Recording System)
Color
Color (Technicolor)
Theatrical Aspect Ratio
2.35 : 1

Synopsis

A eye-patched, whiskey guzzling deputy marshall helps a bible-thumping missionary avenge the death of her father.

Film Details

Also Known As
Huka dig, Rooster, nu laddar hon om
MPAA Rating
Genre
Drama
Western
Sequel
Release Date
1975

Technical Specs

Duration
1h 47m
Sound
Mono (Westrex Recording System)
Color
Color (Technicolor)
Theatrical Aspect Ratio
2.35 : 1

Articles

Rooster Cogburn


For anyone with even a passing interest in the Golden Age of Hollywood, Rooster Cogburn (1975) is required viewing. The admittedly formulaic Western brought together the iconic screen figures John Wayne and Katharine Hepburn--for the first and only time, and in the twilight of their careers - and demonstrated each one's considerable personal charisma to be wholly complementary.

As the film's title makes plain, Wayne was called upon to reprise the role that had garnered him an Oscar six years previously, that of the one-eyed, surly, profane, hard-drinking, rule-breaking federal marshal of True Grit (1969). His badge suspended for the latest in a string of routine arrests that ended in bloodshed, Cogburn is offered reinstatement for the purpose of bringing down a ring of bank robbers that has hijacked a wagon shipment of nitroglycerin.

In an apparent bid to ensure Hepburn her equal share of center stage, Rooster Cogburn features the actress in a part that recalls one of her signature roles, that of Rose Sayer in The African Queen (1951). Hepburn's Eula Goodnight is the dutiful daughter of a New England minister performing missionary work with the local Native Americans. Unfortunately, the villains of the piece choose their ministry to decamp, and leave only Eula and a teenage boy (Richard Romancito) alive in their wake.

Cogburn rides up to the destruction as the survivors bury their dead, and is prepared to guarantee them retribution. What the gruff old lawman is completely unprepared for is Eula's determination to join the manhunt, and to prove she can ride and shoot as well as any of the marshal's absentee deputies. Her resolve wears on Cogburn, who warily allows her to join the quest.

The two legendary leads, who were each 67 years old at the time of filming, had no prior acquaintance and could not have been more diametrically opposite in their personal politics, but the mutual admiration and respect for one another's skill is obvious onscreen. In her 1991 memoir Me (Alfred A. Knopf), Hepburn had warm recollections of filming with the Duke: "His shoulders are broad-very. His chest massive-very. When I leaned against him (which I did as often as possible, I must confess-I am reduced to such innocent pleasures), thrilling. It was like leaning against a great tree...Good legs. No seat. A real man's body."

Wayne was comparably impressed by his co-star's willful nature, as evidenced in Anne Edwards' Hepburn bio A Remarkable Woman (William Morrow and Company). "You should have seen her up on those mountain locations. She can't ride a hobby horse. But she climbed right up on those horses and gave 'em hell. We had a great girl stunt rider for her, but Kate said, 'She doesn't sit as straight in the saddle as I do.'"

Though Rooster Cogburn is first and foremost a star vehicle, nods are deserved for Richard Jordan as the criminal gang's homicidal chieftain; Anthony Zerbe, memorably sleazy as the traitorous scout who betrayed the nitro shipment's route; and Strother Martin, with a scene-stealing cameo as a crabby riverside merchant.

While Hepburn continued to work into the '80s, and Wayne would have a genuine onscreen elegy with The Shootist (1976), Rooster Cogburn marked the final screen credit of Hal B. Wallis. The prolific producer's career began with Little Caesar (1931), and dozens of classics such as Casablanca (1942) , 42nd Street (1933), The Adventures of Robin Hood (1938), Sergeant York (1941), Anne of the Thousand Days (1969) and True Grit marked his resume.

One last note: Rooster Cogburn's screenplay is credited to "Martin Julien." By various accounts, "Julien" (who never received another writing credit) was a pseudonym for actress Martha Hyer. Hyer, a pretty blonde second lead of the '50s and '60s, was an Oscar nominee for her work in Some Came Running (1958), and (for the last 20 years of his life) Mrs. Hal B. Wallis.

Producer: Hal B. Wallis
Director: Stuart Millar
Screenplay: Martha Hyer (as Martin Julien)
Art Direction: Preston Ames
Cinematography: Harry Stradling, Jr.
Editing: Robert Swink
Music: Laurence Rosenthal
Cast: John Wayne (Rooster Cogburn), Katharine Hepburn (Eula Goodnight), Anthony Zerbe (Breed), Richard Jordan (Hawk), John McIntire (Judge Parker), Paul Koslo (Luke), Lane Smith (Leroy), Strother Martin (McCoy), Richard Farnsworth (Rooster's deputy).
C-108m. Letterboxed. Closed captioning.

by Jay Steinberg
Rooster Cogburn

Rooster Cogburn

For anyone with even a passing interest in the Golden Age of Hollywood, Rooster Cogburn (1975) is required viewing. The admittedly formulaic Western brought together the iconic screen figures John Wayne and Katharine Hepburn--for the first and only time, and in the twilight of their careers - and demonstrated each one's considerable personal charisma to be wholly complementary. As the film's title makes plain, Wayne was called upon to reprise the role that had garnered him an Oscar six years previously, that of the one-eyed, surly, profane, hard-drinking, rule-breaking federal marshal of True Grit (1969). His badge suspended for the latest in a string of routine arrests that ended in bloodshed, Cogburn is offered reinstatement for the purpose of bringing down a ring of bank robbers that has hijacked a wagon shipment of nitroglycerin. In an apparent bid to ensure Hepburn her equal share of center stage, Rooster Cogburn features the actress in a part that recalls one of her signature roles, that of Rose Sayer in The African Queen (1951). Hepburn's Eula Goodnight is the dutiful daughter of a New England minister performing missionary work with the local Native Americans. Unfortunately, the villains of the piece choose their ministry to decamp, and leave only Eula and a teenage boy (Richard Romancito) alive in their wake. Cogburn rides up to the destruction as the survivors bury their dead, and is prepared to guarantee them retribution. What the gruff old lawman is completely unprepared for is Eula's determination to join the manhunt, and to prove she can ride and shoot as well as any of the marshal's absentee deputies. Her resolve wears on Cogburn, who warily allows her to join the quest. The two legendary leads, who were each 67 years old at the time of filming, had no prior acquaintance and could not have been more diametrically opposite in their personal politics, but the mutual admiration and respect for one another's skill is obvious onscreen. In her 1991 memoir Me (Alfred A. Knopf), Hepburn had warm recollections of filming with the Duke: "His shoulders are broad-very. His chest massive-very. When I leaned against him (which I did as often as possible, I must confess-I am reduced to such innocent pleasures), thrilling. It was like leaning against a great tree...Good legs. No seat. A real man's body." Wayne was comparably impressed by his co-star's willful nature, as evidenced in Anne Edwards' Hepburn bio A Remarkable Woman (William Morrow and Company). "You should have seen her up on those mountain locations. She can't ride a hobby horse. But she climbed right up on those horses and gave 'em hell. We had a great girl stunt rider for her, but Kate said, 'She doesn't sit as straight in the saddle as I do.'" Though Rooster Cogburn is first and foremost a star vehicle, nods are deserved for Richard Jordan as the criminal gang's homicidal chieftain; Anthony Zerbe, memorably sleazy as the traitorous scout who betrayed the nitro shipment's route; and Strother Martin, with a scene-stealing cameo as a crabby riverside merchant. While Hepburn continued to work into the '80s, and Wayne would have a genuine onscreen elegy with The Shootist (1976), Rooster Cogburn marked the final screen credit of Hal B. Wallis. The prolific producer's career began with Little Caesar (1931), and dozens of classics such as Casablanca (1942) , 42nd Street (1933), The Adventures of Robin Hood (1938), Sergeant York (1941), Anne of the Thousand Days (1969) and True Grit marked his resume. One last note: Rooster Cogburn's screenplay is credited to "Martin Julien." By various accounts, "Julien" (who never received another writing credit) was a pseudonym for actress Martha Hyer. Hyer, a pretty blonde second lead of the '50s and '60s, was an Oscar nominee for her work in Some Came Running (1958), and (for the last 20 years of his life) Mrs. Hal B. Wallis. Producer: Hal B. Wallis Director: Stuart Millar Screenplay: Martha Hyer (as Martin Julien) Art Direction: Preston Ames Cinematography: Harry Stradling, Jr. Editing: Robert Swink Music: Laurence Rosenthal Cast: John Wayne (Rooster Cogburn), Katharine Hepburn (Eula Goodnight), Anthony Zerbe (Breed), Richard Jordan (Hawk), John McIntire (Judge Parker), Paul Koslo (Luke), Lane Smith (Leroy), Strother Martin (McCoy), Richard Farnsworth (Rooster's deputy). C-108m. Letterboxed. Closed captioning. by Jay Steinberg

Lane Smith (1936-2005)


Lane Smith, a veteran character actor of stage, screen and television, and who was best known to modern viewers as Perry White on Lois and Clark: The New Adventures of Superman, died on June 13 at his Los Angeles home of amyotrophic lateral sclerosis, which is more commonly called Lou Gehrig's disease. He was 69.

Born in Memphis, Tennessee on April 29, 1936, Smith had a desire to act from a very young age. After a brief stint in the Army, he moved to New York to study at the Actors Studio and made his debut on off-Broadway debut in 1959. For the next 20 years, Smith was a staple of the New York stage before sinking his teeth into television: Kojak, The Rockford Files, Dallas; and small parts in big films: Rooster Cogburn (1975), Network (1976).

In 1978, he moved to Los Angeles to focus on better film roles, and his toothy grin and southern drawl found him a niche in backwoods dramas: Resurrection (1980), Honeysuckle Rose (1980); and a prominent role as the feisty Mayor in the dated Cold War political yarn Red Dawn (1984).

Smith returned to New York in 1984 and scored a hit on Broadway when he received a starring role in David Mamet's Glengarry Glen Ross and earned a drama desk award in the process. His breakthrough role for many critics and colleagues was his powerful turn as Richard Nixon in The Final Days (1989); a docudrama based on the book by Bob Woodward and Carl Bernstein. He earned a Golden Globe nomination for his spot-on portrayal of the fallen President, and his career picked up from there as parts in prominent Hollywood films came his way: Air America (1990), My Cousin Vinny, The Mighty Ducks (both 1992), and the Pauly Shore comedy Son in Law (1993).

For all his dependable performances over the years, Smith wasn't a familiar presence to millions of viewers until he landed the plump role of Perry White, the editor of the Daily Planet in Superman: Lois and Clark which co-starred Dean Cain and Teri Hatcher (1993-1997). After that run, he gave a scorching performance as Reverend Jeremiah Brown in the teleplay Inherit the Wind (1999); and he appeared last in the miniseries Out of Order (2003). He is survived by his wife Debbie; and son, Rob.

by Michael T. Toole

Lane Smith (1936-2005)

Lane Smith, a veteran character actor of stage, screen and television, and who was best known to modern viewers as Perry White on Lois and Clark: The New Adventures of Superman, died on June 13 at his Los Angeles home of amyotrophic lateral sclerosis, which is more commonly called Lou Gehrig's disease. He was 69. Born in Memphis, Tennessee on April 29, 1936, Smith had a desire to act from a very young age. After a brief stint in the Army, he moved to New York to study at the Actors Studio and made his debut on off-Broadway debut in 1959. For the next 20 years, Smith was a staple of the New York stage before sinking his teeth into television: Kojak, The Rockford Files, Dallas; and small parts in big films: Rooster Cogburn (1975), Network (1976). In 1978, he moved to Los Angeles to focus on better film roles, and his toothy grin and southern drawl found him a niche in backwoods dramas: Resurrection (1980), Honeysuckle Rose (1980); and a prominent role as the feisty Mayor in the dated Cold War political yarn Red Dawn (1984). Smith returned to New York in 1984 and scored a hit on Broadway when he received a starring role in David Mamet's Glengarry Glen Ross and earned a drama desk award in the process. His breakthrough role for many critics and colleagues was his powerful turn as Richard Nixon in The Final Days (1989); a docudrama based on the book by Bob Woodward and Carl Bernstein. He earned a Golden Globe nomination for his spot-on portrayal of the fallen President, and his career picked up from there as parts in prominent Hollywood films came his way: Air America (1990), My Cousin Vinny, The Mighty Ducks (both 1992), and the Pauly Shore comedy Son in Law (1993). For all his dependable performances over the years, Smith wasn't a familiar presence to millions of viewers until he landed the plump role of Perry White, the editor of the Daily Planet in Superman: Lois and Clark which co-starred Dean Cain and Teri Hatcher (1993-1997). After that run, he gave a scorching performance as Reverend Jeremiah Brown in the teleplay Inherit the Wind (1999); and he appeared last in the miniseries Out of Order (2003). He is survived by his wife Debbie; and son, Rob. by Michael T. Toole

Quotes

I do not fear a skunk. I simply do not care for its odor.
- Eula Goodnight

Trivia

Miscellaneous Notes

Released in United States Winter January 1, 1975

Released in United States Winter January 1, 1975