Penned by then-neophyte screenwriter Jeb Rosebrook and shot by Sam Peckinpah's best cinematographer, Lucien Ballard, on location in Prescott, Arizona, 'Junior Bonner' stars Steve McQueen in the title role as an aging, battered bull rider returning to his hometown to participate in Prescott's 4th of July "Frontier Days." (As the world's oldest rodeo, founded in 1888, Prescott's annual event epitomizes the mythic cowboy culture of the Old West). Expecting to find his family unchanged after many years, J.R. "Junior" Bonner discovers that his father, Ace (Robert Preston)—a former rodeo star gone to seed—and mother Elvira (Ida Lupino) have since separated and that his younger brother Curly (Joe Don Baker) has become a venal real estate tycoon selling off parcels of the family land holdings for a fast buck. A poignant look at the dissolution of the modern American family, Junior Bonner is also obviously another installment in Sam Peckinpah's long string of elegiac movies (e.g., 'Ride the High Country'; 'The Wild Bunch'; 'The Ballad of Cable Hogue') about the passing of a freer, tougher, and more independent America, superseded by domesticated, money-grubbing conformists. Concomitant with the demise of rugged individualism is the deterioration of the kind of stoical, circumspect, and physically courageous masculinity that Peckinpah and McQueen held dear. To recuperate said masculinity, Junior Bonner undertakes to ride "Sunshine," a fearsome bull he has never been able to master for the requisite eight seconds in order to achieve at least a symbolic kind of redemption for himself and all his ilk—and to win sufficient prize money to send his father to Australia to prospect for gold (a gesture toward a new frontier). Good natured by Peckinpah standards, 'Junior Bonner' is one of his finest and most underrated films and Steve McQueen's wry, understated rendition of Junior Bonner ranks among his best performances. The film also features the great character actors Ben Johnson and Dub Taylor, Barbara Leigh as Charmagne, Bonner's enigmatic love interest, and Peckinpah and two of his children in cameos. Similar in many ways to Cliff Robertson's rodeo movie, 'J.W. Coop', 'Junior Bonner' provides a more upbeat ending. VHS (1998) and DVD (1999).

Woe! This is a Steve McQueen film made by Sam Peckinpah. The latter always thrived on violence to get his points across in motion pictures. For Peckinpah, this film makes "Mary Poppins" extremely exciting.No wonder Robert Preston and Ida Lupino, the parents of McQueen in the film, are separated. Both are terribly miscast in their respective roles. By 1972, Lupino, with her red hair, had terrible bags under her eyes. Her time as the great actress she was had long come and gone.Where is the real story development in this yarn? The potential is there as brother Joe Don Baker wishes to sell off the land to developers in order to make trailers. Sounds great for modern day real estate. This issue is never fully realized. Preston has the foolish notion of going to Australia to do some mining there. The fact that his son Junior buys him a plane ticket there has meaning, but really no value.The rodeo riding scenes were authentic, but the film lacks punch-even with the bar room brawl. Was Peckinpah trying to say farewell to western films by doing this film? Had they become passé?

A modern-day Western, Junior Bonner is a director Sam Peckinpah's lovely effort, feeling look at the world of the rodeo. Steve McQueen, engagingly easygoing but obstinate , is the title character, a rodeo rider out to win a big bull-riding competition in his hometown called Prescott. The rodeo champion works rodeo circuit contest , as the has-been rodeo star trying to make it big again. McQueen is a drifter who returns his small town and he strives to preserve his values in an often harsh modern world. McQueen decides to raise money for his father's journey towards Australia by challenging a formidable bull whose owner is Ben Johnson.Peckinpah's slow-motion camera , his usual trademark,is put to particularly nice utilization shooting the balletic movement of the rodeo, at once more splendidly and awe-inspiring than any gun battle. An enjoyable country-western , Junior Bonner is lovely directed by Sam Peckinpah as an elegiac perspective at the world of the rodeo . Steve McQueen turns in an excellent acting as a drifting rodeo star who is searching in a changing world for values that have long time disappeared. He also must deal with his feuding parents, and selfish brother wonderfully performed by Robert Preston, Ida Lupino and Joe Don Baker. Robert Preston is particularly fine as the old veteran, he and Ida Lupino strike real sparks. Furthermore, it contains an emotive score by Jerry Fielding , Peckinpah's usual, and colorful cinematography by Lucien Ballard. An agreeable country-western with marvelous interpretations and exciting rodeo footage including slow-moving images and a much quieter movie than habitual from ¨Cross of Iron¨,¨The getaway¨, ¨Wild bunch¨ , ¨Major Dundee¨ director Sam Peckinpah.

The film itself is interesting enough, even to those not interested in its core subject of Rodeo, and it's a story that I think most viewers can get onside with. The title character played wonderfully by Steve McQueen returns to his home town of Prescott, Arizona, to find that the family he left behind is now fractured and that age has caught up with him and his Rodeo life.It's a very up and down piece that on the surface doesn't seem like a directed effort from Sam Peckinpah. But there's some very special treats in the film to look out for. I have never been to a Rodeo so I have no frame of reference as regards the power of the Rodeo scenes here, but they certainly hit the spot of this particular viewer, in fact, I was transfixed by them. The film is also dotted with interesting and nicely drawn characters that are thankfully well realised by the acting talent on show. Ida Lupino, Robert Preston & Ben Johnson all help to keep the film way above average, but ultimately it's Steve McQueen turning in a memorable lead performance that actually deserves a better film than the one it ends up being. So 7/10 for the film as a whole, but a genuine 10/10 for the affectingly deep turn from McQueen.