Review of The Ballad of Cable Hogue (1970) by Dan D — 19 Mar 2010

In the canon of Peckinpah, 'Cable Hogue' is somewhat of a departure in tone and theme. While the title character, deftly played by Jason Robards, is hellbent on revenge from nearly the opening frame, most of the film takes a lighthearted approach to life in the wild west, which, as typically depicted by Peckinpah, is more of a Hobbesian dystopia than the largely mirthful romp found here.

Case in point, in a very un-Peckinpah move, halfway through the film, the viewer is treated to a duet featuring Stella Stevens and Robards, whose gravely crooning is downright comical, singing "Butterfly Mornings". There are also several instances of comedic sequences punctuated by being sped up, making one feel as though "Yakety Sax" should be playing as Benny Hill runs through the frame.

Thematically, law and patriotism come into focus throughout 'Cable Hogue'. However, unlike 'The Wild Bunch', 'Straw Dogs', or 'Pat Garret and Billy The Kid', the law is seen as a respected device that maintains order and the government is an institution that represents opportunity. Even if it is not your typical Peckinpah flick, 'Cable Hogue' still manages to ponder the concepts of religion and capitalism as existing in a Christian nation. Religion and morality are front and center via Hogue's atheism and David Warner's portrayal of the delightfully lustful Reverend Joshua.

However, the film never stray too far without reminding you that it is, ultimately, a story of revenge (and, thus, a Peckinpah film). Beyond God, law and country, the unyielding pursuit of vengeance is the basis for Hogue's ideology. Thankfully, Peckinpah ends the film without judging Hogue for his headstrong beliefs. Instead, the view is left to decipher what caused the movie to end as it did (modernity, God, greed?).