Cattle Annie and Little Britches


1h 38m 1981

Brief Synopsis

It's 1893, and after their many years together, the outlaw gang led by Bill Doolin and Bill Dalton is about to disband. But when two teenage girls filled with the romance of being outlaws in the West show up, the gang is revived. Jenny and Annie help the men plan a series of robberies, but this new

Film Details

MPAA Rating
Release Date
1981
Production Company
Pacific Title & Art Studio; United Artists Films
Distribution Company
Universal Pictures

Technical Specs

Duration
1h 38m

Synopsis

It's 1893, and after their many years together, the outlaw gang led by Bill Doolin and Bill Dalton is about to disband. But when two teenage girls filled with the romance of being outlaws in the West show up, the gang is revived. Jenny and Annie help the men plan a series of robberies, but this new activity draws the interest of a lawman who is determined to bring them all to justice.

Crew

David Anderson

1st Assistant Director

Colin Arthur

Makeup

David Ball

Production Manager

David Ball

Production Manager

Dehl Berti

Song ("Cattle Annie")

Sanh Berti

Song ("Cattle Annie")

Sanh Berti

Music; Music Director

Bertha Chu

Hairstyles

Laurencio Cordero

Special Effects

Jim Cranston

Production Manager

John Daly

Executive Producer

Derek Dawson

Executive Producer

Sean Doyle

Camera Operator

Jesus Duran

Special Effects

Mark Eggenweiler

Sound Editor

Tony Epper

Stunt Coordinator

David Eyre

Screenwriter

Amy Fates

Assistant Editor

Jerry Gatlin

Stunts

Stan Gilbert

Sound Editor (Dialogue)

Rosa Guerrero

Makeup

William Haugse

Editor

David Hawkins

Sound Editor

Hall Hitzig

2nd Assistant Director

Hall Hitzig

Driver

Rupert Hitzig

Producer

Johnny Hock

Wrangler

Russell Hoverson

Driver

Lester Hoyle

Script Supervisor

Earl Huntoon

Propmaster

Christopher Michael Johnson

Stills

Stan Jolley

Production Designer

Diane Katz

Production Coordinator

Alan King

Producer

David Korda

Associate Producer

John Leblanc

Camera Assistant

Danne D Long

Hairstyles

Mary Mccaslin

Song Performer ("Cattle Annie")

Sergio Ortega

Assistant Editor

Bernard F Pincus

Sound Editor

Larry Pizer

Director Of Photography

Dick Purdy

Set Dresser

Larry Randles

Stunts

Rita Riggs

Costumes

Jim Ringer

Song Performer ("Cattle Annie")

Robbe Roberts

Editor Supervisor

Davey Rogers

Wrangler

Brian Rose

Camera Assistant

Gerald Rosenthal

Sound Editor

Scott Sampson

Driver

Jonathan Schwartz

Production Assistant

Tom Slocum

Song

Tom Slocum

Music; Music Director

Tom Slocum

Song Performer ("Cattle Annie")

John Smallcombe

Assistant Director

Beverly Spaulding

Song Performer ("Cattle Annie")

William Stevenson

Sound Effects Supervisor

Duncan Stewart

Production Accountant

Manuel Topete

Sound Recording

Robert Ward

Screenwriter

Robert Ward

Source Material (From Novel)

Bob Wright

2nd Assistant Director

Film Details

MPAA Rating
Release Date
1981
Production Company
Pacific Title & Art Studio; United Artists Films
Distribution Company
Universal Pictures

Technical Specs

Duration
1h 38m

Articles

TCM Remembers - Rod Steiger


ROD STEIGER, 1925 - 2002

From the docks of New York to the rural back roads of Mississippi to the war torn Russian steppes, Rod Steiger reveled in creating some of the most overpowering and difficult men on the screen. He could be a total scoundrel, embodying Machiavelli's idiom that "it's better to be feared than loved" in the movies. But as an actor he refused to be typecast and his wide range included characters who were secretly tormented (The Pawnbroker, 1965) or loners (Run of the Arrow, 1965) or eccentrics (The Loved One, 1965).

Along with Marlon Brando, Steiger helped bring the 'Method School' from the Group Theater and Actors Studio in New York to the screens of Hollywood. The Method technique, taught by Stella Adler and Lee Strasberg, insisted on complete immersion into the character's psyche and resulted in intense, dramatic performances and performers. Steiger made his first significant screen appearance as Brando's older brother in On the Waterfront (1954). Their climatic scene together in a taxicab is one of the great moments in American cinema.

It was a short leap from playing a crooked lawyer in On the Waterfront to playing the shady boxing promoter in The Harder They Fall (1956). Based on the tragic tale of true-life fighter Primo Carnera, The Harder They Fall details the corruption behind the scenes of professional boxing bouts. Steiger is a fight manager named Nick Benko who enlists newspaperman Eddie Willis (Humphrey Bogart in his final screen appearance) to drum up publicity for a fixed prizefight. While the boxing scenes were often brutally realistic, the most powerful dramatic moments took place between Steiger and Bogart on the sidelines.

As mob boss Al Capone (1959), Steiger got to play another man you loved to hate. He vividly depicted the criminal from his swaggering early days to his pathetic demise from syphilis. In Doctor Zhivago (1965), Steiger was the only American in the international cast, playing the hateful and perverse Komarovsky. During the production of Dr. Zhivago, Steiger often found himself at odds with director David Lean. Schooled in the British tradition, Lean valued the integrity of the script and demanded that actors remain faithful to the script. Steiger, on the other hand, relied on improvisation and spontaneity. When kissing the lovely Lara (played by Julie Christie), Steiger jammed his tongue into Christie's mouth to produce the desired reaction - disgust. It worked! While it might not have been Lean's approach, it brought a grittier edge to the prestige production and made Komarovsky is a detestable but truly memorable figure.

Steiger dared audiences to dislike him. As the smalltown southern Sheriff Gillespie in In The Heat of the Night (1967), Steiger embodied all the prejudices and suspicions of a racist. When a black northern lawyer, played by Sidney Poitier, arrives on the crime scene, Gillespie is forced to recognize his fellow man as an equal despite skin color. Here, Steiger's character started as a bigot and developed into a better man. He finally claimed a Best Actor Academy Award for his performance as Sheriff Gillespie.

Steiger was an actor's actor. A chameleon who didn't think twice about diving into challenging roles that others would shy away from. In the Private Screenings interview he did with host Robert Osborne he admitted that Paul Muni was one of his idols because of his total immersion into his roles. Steiger said, "I believe actors are supposed to create different human beings." And Steiger showed us a rich and diverse cross section of them.

by Jeremy Geltzer & Jeff Stafford

Tcm Remembers - Rod Steiger

TCM Remembers - Rod Steiger

ROD STEIGER, 1925 - 2002 From the docks of New York to the rural back roads of Mississippi to the war torn Russian steppes, Rod Steiger reveled in creating some of the most overpowering and difficult men on the screen. He could be a total scoundrel, embodying Machiavelli's idiom that "it's better to be feared than loved" in the movies. But as an actor he refused to be typecast and his wide range included characters who were secretly tormented (The Pawnbroker, 1965) or loners (Run of the Arrow, 1965) or eccentrics (The Loved One, 1965). Along with Marlon Brando, Steiger helped bring the 'Method School' from the Group Theater and Actors Studio in New York to the screens of Hollywood. The Method technique, taught by Stella Adler and Lee Strasberg, insisted on complete immersion into the character's psyche and resulted in intense, dramatic performances and performers. Steiger made his first significant screen appearance as Brando's older brother in On the Waterfront (1954). Their climatic scene together in a taxicab is one of the great moments in American cinema. It was a short leap from playing a crooked lawyer in On the Waterfront to playing the shady boxing promoter in The Harder They Fall (1956). Based on the tragic tale of true-life fighter Primo Carnera, The Harder They Fall details the corruption behind the scenes of professional boxing bouts. Steiger is a fight manager named Nick Benko who enlists newspaperman Eddie Willis (Humphrey Bogart in his final screen appearance) to drum up publicity for a fixed prizefight. While the boxing scenes were often brutally realistic, the most powerful dramatic moments took place between Steiger and Bogart on the sidelines. As mob boss Al Capone (1959), Steiger got to play another man you loved to hate. He vividly depicted the criminal from his swaggering early days to his pathetic demise from syphilis. In Doctor Zhivago (1965), Steiger was the only American in the international cast, playing the hateful and perverse Komarovsky. During the production of Dr. Zhivago, Steiger often found himself at odds with director David Lean. Schooled in the British tradition, Lean valued the integrity of the script and demanded that actors remain faithful to the script. Steiger, on the other hand, relied on improvisation and spontaneity. When kissing the lovely Lara (played by Julie Christie), Steiger jammed his tongue into Christie's mouth to produce the desired reaction - disgust. It worked! While it might not have been Lean's approach, it brought a grittier edge to the prestige production and made Komarovsky is a detestable but truly memorable figure. Steiger dared audiences to dislike him. As the smalltown southern Sheriff Gillespie in In The Heat of the Night (1967), Steiger embodied all the prejudices and suspicions of a racist. When a black northern lawyer, played by Sidney Poitier, arrives on the crime scene, Gillespie is forced to recognize his fellow man as an equal despite skin color. Here, Steiger's character started as a bigot and developed into a better man. He finally claimed a Best Actor Academy Award for his performance as Sheriff Gillespie. Steiger was an actor's actor. A chameleon who didn't think twice about diving into challenging roles that others would shy away from. In the Private Screenings interview he did with host Robert Osborne he admitted that Paul Muni was one of his idols because of his total immersion into his roles. Steiger said, "I believe actors are supposed to create different human beings." And Steiger showed us a rich and diverse cross section of them. by Jeremy Geltzer & Jeff Stafford

Quotes

Trivia

Miscellaneous Notes

Released in United States 1981

Feature acting debut for actress Amanda Plummer, the daughter of Tammy Grimes and Christopher Plummer.

Released in United States 1981