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Bill Miner (Richard Farnsworth) is a 19th century stagecoach robber known as The Gentleman Bandit. After 33 years in San Quentin, he is released in 1901 into the modern world. He tries to go straight but can't escape his own nature. After watching 'The Great Train Robbery', he starts robbing trains and ends up in Canada where he falls in love with photographer Kate Flynn (Jackie Burroughs).

It's a slow leisurely crime spree noted for Farnsworth's congenial nature. The story is a little disjointed. I'd like a smoother flow but the movie is more interested in its easy tone. It ends in a rather fun enjoyable third act. It could have been improved with a better sidekick. A bit of fictionalization could give him an admiring young fan as his companion in crime. That would be a better gang than his actual gang. At last, the movie insists on using the real characters.

This is the only movie I have ever purchased. There are so many awesome things about this movie. The plot is unusual. The characters are originals. The music by the Chieftains is rich and adds so much to the movie itself. The photography of the Canadian countryside is outstanding. Be sure to notice the little boy who wants an orange. You will see him again. I love the Canadian small town settings. Best of all is just watching Richard Farnsworth. His character is so appealing. Mr Farnsworth is so natural that he doesn't appear to be acting at all. I just love this movie. It is my all time favorite. The combination of the unusual characters, the time and place, the appealing Mr. Farnsworth, along with music by the Chieftains creates a very special movie.

A very different kind of Western, "The Grey Fox" is set mostly in Canada, moves at an unhurried pace, and stars a senior citizen. Richard Farnsworth didn't make the jump from stunt man to actor until he was well past leading man age, but he was wonderful in films like "The Natural", "Misery", and "The Straight Story". This, however, has to be his best performance. He exudes subtle grace as gentleman train robber Bill Miner, who gets out of prison and is forced to adapt to a world that has passed him by. There's also a very sweet romance between Miner and a feminist photographer. My favorite part of the film is a montage of their courtship set to Miner singing "Betsy From Pike". I also loved the Irish music by the Chieftains, which seemed to fit perfectly with the lovely Canadian scenery. It will be too slow for most audiences, but if you love small independent films that don't pander to teenage moviegoers, this gem will be right up your alley.

This really is a masterpiece of film - and, unfortunately, largely unknown to the greater film-watching public in the United States. It is beautiful to watch, to listen to (with its soundtrack including both original work by award-winning composer Michael Conway Baker, of Canada, and the Chieftains), and to examine as a chronicle of the period that concluded the Wild West's grasp on the 19th Century and its reach for the 20th.

Bill Miner, the "Gentleman Bandit," was a historical figure whose long prison term for stagecoach robbery left him entirely unprepared (vocationally) for his release back into society - a society that was now devoid of stagecoaches, and beginning to discover the wonders of motorcars and moving pictures.

The 29-year-old director, Phillip Borsos (1953-1995), made this film tribute to the last outlaw of the Wild West and to the region that he lived in. While others might have gone heavy-handed and clichéd in such a production, Borsos' eye and ear both figure significantly in the film's direction, and its numerous examples of originality:

• a senior citizen star (the late Richard Farnsworth - whose Hollywood career had started as a stuntman, in Westerns - playing Bill Miner as a thoughtful and kind gentleman) who even gets to look hunky;

• a respectful treatment of an early 20th Century feminist (played by Jackie Burroughs);

• cinematography that highlights the beauty of the Pacific Northwest, rather than some anonymous California desert;

• a soundtrack that ISN'T Coplandesque (or Morriconesque);

• a 'cowboy picture' where the hero gets the girl, but doesn't get vulgar or trite or even testosterone-driven; AND

• an accurate look at the turn-of-the-century a hundred years ago in a landscape that hasn't entirely disappeared. Yet.

I have hummed the music from its tuneful soundtrack since the first time I saw it in its initial U.S. theatrical release, and have wanted to visit Kamloops, BC, ever since. If you can stand movies without gratuitous pyrotechnics or violence, don't let another day go by without checking out this film classic.

Surely one of the most direct, honest and accurate depictions of life in the "Old West," the Grey Fox does not resort to violence, bluster or machismo to present its story. Instead, the film comes across as a story of a man whose life has gone wrong as the result of carefully thought out and well-reasoned choices, though nevertheless bad choices. This alone is particularly refreshing in a Western movie and makes the film a worthwhile experience.

The late Richard Farnsworth relies on his considerable skills as an actor and makes his character sympathetic and heroic, never losing sight that he is in fact a thief. The costumes, setting, dialog and yes, even the miserable weather are true to the historical period and makes the viewer feel as if they were there alongside the characters in this elegant story.

It's a wonderful film and a visual feast!