Aces all around, especially to whoever decided to film in b&w at a time when Technicolor for outdoor dramas was almost required. But b&w helps focus on story rather than spectacle, and this is a darn good story. Burns (Douglas) is a free spirit rebelling against authority. He seeks his independence in the world of nature. Fences and jail bars are his enemy; at the same time, he bonds with a horse rather than a conventional woman. So can he escape the confining conformity of all he detests once he breaks jail and the authorities pursue. That second half played against the rugged terrain of New Mexico is among the best chase sequences in all moviedom. In a sense it's Burns representing the Old West against the combined forces of the New. It's the escapee on horseback against helicopters, jeeps, and radios. The end couldn't be more ironic. Just a few yards from freedom, Burns and Whisky the horse are undone by a truck hauling toilets of all things. In a sense, that's what the modern world would like to do with his non-conformist ilk-- flush him away into yesterday. In a sense it's the motor force of history bearing down on his free spirit, which is why the truck appears early and mysteriously in the movie's narrative. The theme and twists are no surprise coming from anarchist Abbey and anti-capitalist Trumbo.All in all, I have two doubts about the 107-minutes. First, the Gena Rowlands role looks like an attempt to work a woman into the marquee in an otherwise all-male cast. At least she's not simply dropped in but does enter into Burns' motivation for going to jail. Second, I expected both Burns and his intrepid horse to be killed in the end. After all, the theme shaped up generally as a modern day tragedy. That would have created real impact for departing audiences. Instead, we're left with the possibility of the non-conformist surviving. That, in itself, may not be as impactful, but it does symbolize the possibility of Burns' free spirit surviving into our age, even though his dead horse symbolizes the passing of the Old West. Then too, I guess it's only fitting that nature's four-footed critter be crushed by a gas-belching 18-wheel mastodon.Of course, viewers may not agree with my interpretation or the worthiness of conformity in our modern age. Nonetheless, it's a heckuva a good movie and not surprisingly actor Douglas's favorite (IMDB). And now, I guess, it's one of mine too. (I can't help hoping that Whisky the horse got extra oats for all her exertions; plus, she really does deserve inclusion in the cast list given her importance to the story.)

has Douglas watched too many B westerns and has an uncontrollable penchant to "act out" the players, in his real time? he is not a dumb person, not particularly smart, but very sincere, and convionced that "being a man" transcends any contemporary versions.He is Wayne and Rowlands is Angie Dickinson; but Wayne was a child like man, not a childish man, so ultimately, she does not want him, even with the physical desire.Matthew is excellent as the "Sheriff", but he is not prone to acting out fantasies.../he just wants to be home at 5:00pm. he chases Douglas with helicopters, not deputies.there are many Americans today who seem to enjoy roaming around with their loaded rifles, chip on their shoulder, and "right to carry" attitude. Second Amendment! why *can't* I go to McDonald's on a Saturday with my "Betsey"? no one will get hurt! Clive Bundy has a "showdown" with the Feds..he hasn't paid them for 20 years and he has his whole posse behind him, pointing guns. Douglas similarly engages those he thinks are takin' away his freedoms.great DVD..buy it now.

This is not a "western" as I went into the film thinking. Yes, Kirk Douglas does play a loner cowboy, but in the very first scene, he must cross a highway while on his horse in order to get to the farm of the wife (Gena Rowlands) of an old friend. A fight in the bar with a one-armed drunk results in him being sentenced to a year in prison, and once he gets in (immediately locking horns with guard George Kennedy), he's planning his escape. This takes him back to the widow's house and finally to the mountains where he is able to outwit the law, at least for a while.With tongue-in-cheek, cynical cop Walter Matthau sits back and watches Douglas use his knowledge of the mountains to survive discovery by Kennedy (on whom he gets delicious revenge) and the other insipid lawmen who not only battle him but nature too. Like Stallone did in "Rambo" (a bit more violently), Douglas is stuck between having been convicted of breaking a ridiculous law and trying to remain honorable, and as the showdown reaches into nightfall, you know that disaster is only moments away. The film is never preachy or smug, yet at times, characters come in (like Carroll O'Connor's truck driver) who just seem out of place. But everybody is there for a reason, and the end is really surprising and sadly ironic. Bill Raisch, as the nasty one-armed drunk, is one of the most hideous villains in films and his motives of hate for Douglas is absolutely vile.

Jack Burns personifies the true authentic man. Inner-directed, questions society's rules, its prejudices and desire to beat into submission the individual. He belongs to a race of men who no longer fit in. This movie also highlights the constant march of man v. technology, individual freedom v. governmental interference and desire to control. So many sub-plots and themes that are so timely in today's world. Open your eyes and look around you.Great character actors and actors early in their careers. The black and white adds to this film's rich texture. No fancy special effects to distract from the message.