Since its opening in 1963, I'd had seen 'McLintock!' four or five times over the years. I'd always considered it a fun, albeit chauvinistic western 'battle of the sexes.' Only after viewing it again after the recent 'loosening of the grips' of the Wayne family estate, did I come to realize its greatness. All great westerns have great themes, and 'McLintock!' is no exception. 'McLintock!' is about forgiveness, the forgiveness that comes with letting go of the animosities of the past and acceptance of those things in the present that will only with time and understanding.
WARNING: SPOILERS
It's Wayne's most lyrical movie as well as his funniest. Wayne plays George Washington McLintock (GW to his wife and friends), the wealthiest rancher on the Mesa Verde. GW is roughly 50 and the changes in him over those fifty years reflects the coming of civilization to the Mesa Verde in particular and to the west in general. GW has become wise to ways of human nature, and, thus, more prepared for the changes which are beyond his control. But GW is a tormented man; for his wife Kathryn (Maureen O'Hara) has left him. So GW spends each and every night getting drunk and whoring, ending up every night tossing his two pound Stetson onto to the weather vane on his roof. This is the first real clue there is something going in 'McClintock' beside the standard story. If GW is happy drinking and whoring, why does he return home EVERY night to sleep in an empty bed, marking his lonely days by each Stetson on that weather vane?
GW and his foreman, Drago (Chill Wills) arrives in the town named after McLintock and run into Bunny, an old half-breed drunk. GW, an easy touch, orders Drago to give Bunny a dollar for a drink, which Drago does reluctantly. GW and Drago enter the Jake Birnbaum's General Store. There GW finds out that Kathryn is visiting town awaiting the return of their only child, Becky, from college. GW learns this by a telegram given to him by Jaime, Birnbaum's Indian assistant. These scenes establish the history of a close relationship between GW, Jake and Jaime, a long relationship unmarked by prejudice, since Jake's a Jew and Jaime's a young Indian. Knowing that Kathryn must be staying in the town's only hotel, GW goes there, running into his favorite whore, Camille (Mari Blanchard) in the process. When GW finally confronts Kathryn in her room, Kathryn is pretentious and downright hostile. GW can barely keep his hands off her, clumsily trying to show Kathryn how much he loves her. However, both Kathryn and the audience know GW is an adulterer, and it is only Wayne's persona, O'Hara's gifted obnoxiousness and the preceeding scenes establishing GW's basic decency which allow us to sympathize with him. We don't dislike Kathryn for her treatment of GW, we dislike Kathryn for her treatment of everyone else. This makes it possible for us to root for GW in his pursuit of reconciliation with Kathryn.
The turning point of the movie for GW and Kathryn actually comes early. I call it the 'Queens in Danger' scene. After Kathryn moves back to the ranch and gives GW an especially bad time, GW goes into town to get drunk and 'see' Camille. Suddenly, GW changes his mind, remembering his buddy Jake's last chess move (GW and Jake play chess as frequently as possible). When Camille's asks where GW is going, GW remarks 'Queen's in danger.' On the surface, he simply appears to be pondering a chess strategy. Actually, the 'queen' to which GW is referring is Kathryn. One slip up with Camille, and GW can forget ever getting Kathryn back. After this episode, it's only a matter of time (and some VERY funny situations) before GW will regain his 'Queen'.
The extended 'chase' of Kathryn by at the end of the movie has always bothered me for its apparent chauvinism. However, in addition to being an homage to 'The Quiet Man,' this 'chase' represents GW and Kathryn finally coming to terms with their feelings for each other. Kathryn had a legitimate gripe against GW's infidelity even when it becomes apparent Kathryn herself has been unfaithful and GW knows it. However, Kathryn has been cruel to EVERYBODY. Finally, her cutting remark to GW after he has failed to sway the governor regarding the plight of the Indians was too much. Kathryn herself could have done more, but she had done nothing. Kathryn had been itching for a confrontation with GW from the beginning, and when he finally offers her one, she runs from him. Like a naughty schoolgirl, Kathryn runs from GW, and like a naughty schoolgirl, she eventually gets spanked for her boorish behavior.
END OF SPOILERS As Kathryn, Maureen O'Hara has never been better. Alternately overbearing, vulnerable, coquettish, combative and sexy, O'Hara would have easily garnered an Oscar had her work appeared in a more 'serious' movie.
There are so many rich subplots and themes in 'McLintock,' it would be very difficult (and a waste of time) to go into them here. Some include the changing West, mistreatment of the Indians, honor, hypocrisy, male/female roles, male bonding, class struggle and misguided patronage. I think there are more of these in this film than many other 'great' westerns combined. It's all presented so goodnaturedly, it's easy to dismiss McClintock! as a piece of cinematic fluff. It's anything but. Not perfect, in fact somewhat cheapened by some less than stellar supporting actors, 'McLintock' is still worth a '9.'
WARNING: SPOILERS
It's Wayne's most lyrical movie as well as his funniest. Wayne plays George Washington McLintock (GW to his wife and friends), the wealthiest rancher on the Mesa Verde. GW is roughly 50 and the changes in him over those fifty years reflects the coming of civilization to the Mesa Verde in particular and to the west in general. GW has become wise to ways of human nature, and, thus, more prepared for the changes which are beyond his control. But GW is a tormented man; for his wife Kathryn (Maureen O'Hara) has left him. So GW spends each and every night getting drunk and whoring, ending up every night tossing his two pound Stetson onto to the weather vane on his roof. This is the first real clue there is something going in 'McClintock' beside the standard story. If GW is happy drinking and whoring, why does he return home EVERY night to sleep in an empty bed, marking his lonely days by each Stetson on that weather vane?
GW and his foreman, Drago (Chill Wills) arrives in the town named after McLintock and run into Bunny, an old half-breed drunk. GW, an easy touch, orders Drago to give Bunny a dollar for a drink, which Drago does reluctantly. GW and Drago enter the Jake Birnbaum's General Store. There GW finds out that Kathryn is visiting town awaiting the return of their only child, Becky, from college. GW learns this by a telegram given to him by Jaime, Birnbaum's Indian assistant. These scenes establish the history of a close relationship between GW, Jake and Jaime, a long relationship unmarked by prejudice, since Jake's a Jew and Jaime's a young Indian. Knowing that Kathryn must be staying in the town's only hotel, GW goes there, running into his favorite whore, Camille (Mari Blanchard) in the process. When GW finally confronts Kathryn in her room, Kathryn is pretentious and downright hostile. GW can barely keep his hands off her, clumsily trying to show Kathryn how much he loves her. However, both Kathryn and the audience know GW is an adulterer, and it is only Wayne's persona, O'Hara's gifted obnoxiousness and the preceeding scenes establishing GW's basic decency which allow us to sympathize with him. We don't dislike Kathryn for her treatment of GW, we dislike Kathryn for her treatment of everyone else. This makes it possible for us to root for GW in his pursuit of reconciliation with Kathryn.
The turning point of the movie for GW and Kathryn actually comes early. I call it the 'Queens in Danger' scene. After Kathryn moves back to the ranch and gives GW an especially bad time, GW goes into town to get drunk and 'see' Camille. Suddenly, GW changes his mind, remembering his buddy Jake's last chess move (GW and Jake play chess as frequently as possible). When Camille's asks where GW is going, GW remarks 'Queen's in danger.' On the surface, he simply appears to be pondering a chess strategy. Actually, the 'queen' to which GW is referring is Kathryn. One slip up with Camille, and GW can forget ever getting Kathryn back. After this episode, it's only a matter of time (and some VERY funny situations) before GW will regain his 'Queen'.
The extended 'chase' of Kathryn by at the end of the movie has always bothered me for its apparent chauvinism. However, in addition to being an homage to 'The Quiet Man,' this 'chase' represents GW and Kathryn finally coming to terms with their feelings for each other. Kathryn had a legitimate gripe against GW's infidelity even when it becomes apparent Kathryn herself has been unfaithful and GW knows it. However, Kathryn has been cruel to EVERYBODY. Finally, her cutting remark to GW after he has failed to sway the governor regarding the plight of the Indians was too much. Kathryn herself could have done more, but she had done nothing. Kathryn had been itching for a confrontation with GW from the beginning, and when he finally offers her one, she runs from him. Like a naughty schoolgirl, Kathryn runs from GW, and like a naughty schoolgirl, she eventually gets spanked for her boorish behavior.
END OF SPOILERS As Kathryn, Maureen O'Hara has never been better. Alternately overbearing, vulnerable, coquettish, combative and sexy, O'Hara would have easily garnered an Oscar had her work appeared in a more 'serious' movie.
There are so many rich subplots and themes in 'McLintock,' it would be very difficult (and a waste of time) to go into them here. Some include the changing West, mistreatment of the Indians, honor, hypocrisy, male/female roles, male bonding, class struggle and misguided patronage. I think there are more of these in this film than many other 'great' westerns combined. It's all presented so goodnaturedly, it's easy to dismiss McClintock! as a piece of cinematic fluff. It's anything but. Not perfect, in fact somewhat cheapened by some less than stellar supporting actors, 'McLintock' is still worth a '9.'