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Comes a Horseman

Comes a Horseman

Western · Drama · Romance · 1978

Ella Connors is a single woman who gets pressured to sell her failing cattle farm to her corrupt ex-suitor, Jacob Ewing. She asks for help from her neighbor, Frank Athearn. As Ella and Frank fight back through stampedes, jealousy, betrayal, and sabotage... they eventually find love.

Movie details

Comes a Horseman

“She was as strong as the land for which she fought. And as vulnerable.”

1978 Western · Drama · Romance 1h 58m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

Ella Connors is a single woman who gets pressured to sell her failing cattle farm to her corrupt ex-suitor, Jacob Ewing. She asks for help from her neighbor, Frank Athearn. As Ella and Frank fight back through stampedes, jealousy, betrayal, and sabotage... they eventually find love.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Comes a Horseman?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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A one-time rodeo star and washed-up horse breeder takes a job from an ex-boss to bring the man's young son home from Mexico.

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Rancho Notorious

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Where it lives

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Names above the title

The people responsible.

Directed by

Alan J. Pakula

Written by

Dennis Lynton Clark

James Caan

James Caan

Frank 'Buck' Athearn

Jane Fonda

Jane Fonda

Ella Connors

Jason Robards

Jason Robards

Jacob 'J.W.' Ewing

George Grizzard

George Grizzard

Neil Atkinson

Richard Farnsworth

Richard Farnsworth

Dodger

Mark Harmon

Mark Harmon

Billy Joe Meynert

Macon McCalman

Macon McCalman

Virgil Hoverton

Court is in session

Put Comes a Horseman on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.