The Western has never truly died, despite its lack of recent multiplex outings, or simply people just not going to watch them (Horizon: An American Saga Chapter One [2024]). It simply drifts in and out of fashion, resurfacing when the cultural moment needs it most.

While everyone remembers the towering peaks, The Searchers (1956), Once Upon a Time in the West (1968), Unforgiven (1992), some of the genre’s most compelling entries are often left behind.

This list looks at ten underrated Western classics, from studio-era oaters to revisionist outliers, international hybrids, and modern offerings. Each film here offers a distinct take on the frontier myth, reminding us why the Western remains one of cinema’s most enduring forms.

1. Frontier Marshal (1939)

Before My Darling Clementine (1946) or Tombstone, the Town too Tough to Die (1942), there was Frontier Marshal, an early screen take on the Wyatt Earp legend, that has since seen many a big screen adaptation.

This lean, hard-nosed B-western directed by Allan Dwan strips the tale down to its barest bones, giving it a kind of early-noir edge. Randolph Scott plays Earp, with the film focusing more on tension and atmosphere than on shootouts or sieges.

Despite the fact it may lack the epic weight of later Earp retellings, Frontier Marshall’s brisk pacing and scratchy tone lay the groundwork for more well rounded psychological Westerns that would follow.

2. The Ox-Bow Incident (1943)

William Wellman’s grim morality tale is more a courtroom drama in the wilderness than a full on Western romp, but is all the more compelling for it. It stars Henry Fonda in a quietly powerful role as one of several townspeople caught in a lynch mob frenzy.

When three men are wrongly accused of cattle rustling, the town’s thirst for justice spirals into something far more terrifying. The Ox-Bow Incident is dialogue-driven, and deeply unsettling, a kind of Western 12 Angry Men (1957) if you like, with rifles and rope.

Its relevance in terms of morality and burred lines of justice has only deepened over time, and the questions it raises about mob mentality, complicity, and lawlessness feel bizarrely prescient today. Wellman’s film stays with you and remains an important document in the genre.

3. Tall in the Saddle (1944)

On the surface, this might seem like simply another Western fronted by John Wayne, but Tall in the Saddle reveals itself to be a sharply written, surprisingly progressive Western with a real sense of humour.

Wayne plays a drifting cowboy who arrives in a town mired in corruption (no surprise there), but the real star of the show is Ella Raines as the tough, independent ranch owner who more than holds her own against him. Their dynamic drives the film as they clash but ultimately find mutual respect; sidestepping the usual damsel tropes.

Director Edwin L. Marin blends mystery and action with impressive character work, resulting in a film that might not reinvent the Western wheel, but is deserving of a place in a higher league than it’s arguably placed in.

4. One-Eyed Jacks (1961)

Marlon Brando’s only directorial effort is a glorious, messy, mythic fever dream of a Western, part Greek tragedy, part revenge melodrama, all filtered through Brando’s tortured romanticism.

The story follows Rio (Brando), a bank robber betrayed by his partner (Karl Malden), who becomes a corrupt sheriff. What begins as a straightforward tale of vengeance unfurls into something far more epic and psychologically driven.

One-Eyed Jacks pre-empts films like The Wild Bunch (1969) and McCabe & Mrs. Miller (1971), and frequently feels like one of a kind. Brando’s performance is superb, the pacing is pitch perfect, and the emotional undercurrents bristle beneath the surface; far from being Brando’s footnote, his only directorial feature might well be one of the finest things he’s ever been a part of.

5. Hud (1963)

Not a traditional Western by any stretch, Hud is set in contemporary Texas, but its bleak, rugged, and morally ambiguous core leave it well placed in terms of genre cliches.

Paul Newman plays the title character, a selfish, swaggering antihero whose charisma and self-confidence masks a rather hollow core. The direction is sharp, and James Wong Howe’s Oscar-winning black-and-white cinematography captures the desolation of the American West like few films before (or arguably after).

At its heart, Hud is about generational conflict, old values, and failing new ones. It’s a Western bereft of romance, where cows are destroyed due to disease and men destroy themselves out of spite. Powerful, unsentimental, and quietly devastating; Hud might contain the suave and style of Newman, but it’s far cry from the slick untouchable presence we’re used to.

The Western genre has been integral to cinema since its early days, with its iconic imagery of vast, open landscapes, shootouts at high noon, and larger-than-life characters. However, for every The Searchers (1956) or Unforgiven (1992), there are lesser-known gems that quietly go unnoticed but deserve to be discovered. Although these films may never have found the right audience or have somehow fallen by the wayside, these films stand as testaments to the versatility and enduring appeal of the genre.

This collection of Westerns—five pre-1970 and five post—shows the breadth of the genre’s emotional and thematic reach and proves that there’s far more to the Western than just cowboy standoffs.

1. Western Union (1941)

Directed by Fritz Lang, Western Union is a beautifully crafted, though often overlooked Western that strays from the expected frontier clichés. Although perhaps more well known for his German expressionist masterpieces Metropolis (1927) and M (1931) amongst others, Western Union proves that Lang had even more strings to his bow than you may have thought.

It’s not a film that would typically come to mind when thinking of classic Westerns, but it strikes a fascinating balance between the traditional and the modern, reflecting the shift in American society at the time.

Western Union sees the legendary Randolph Scott playing Vance Shaw, a reformed outlaw enlisted to help build the telegraph line across the American frontier. Lang brings a nuanced and somewhat noirish sensibility to the Western, perhaps unsurprising when you consider his more well known output, and the moral dilemmas faced by Shaw are more complex than the usual battle between good and evil, especially as he grapples with his past as an outlaw while working for a cause that represents the future.

There are also subtle nods to works like Metropolis with Western Union addressing themes of progress and technology, and Lang’s trademark visual style—the striking use of shadows, light, and framing—adds an almost existential weight to the proceedings. The expansive American landscape is shot in vivid colour, and at a time when the world was still very much coming to terms with that cinematic medium. It shouldn’t be a surprise that Lang was at the forefront of such a work, it’s just a shame it’s not held up in as high regard as some of his other films.

2. Canyon Passage (1946)

Jacques Tourneur is best known for his work in the horror genre, particularly Cat People (1942) and Out of the Past (1947), but Canyon Passage demonstrates his ability to weave psychological complexity into the Western genre.
Set in 1850s Oregon, the film tells the story of Logan Stuart (a terrific Dana Andrews), a freight company owner whose romantic escapades and involvement in the local politics of a frontier town pull him into a web of intrigue and danger.

What makes Canyon Passage unique is the way it focuses on the emotional and psychological lives of its characters and doesn’t simply shower the audience in shootouts or overblown set pieces. Tourneur digs deeper into the complexities of human relationships and the way the frontier shaped the people who lived within it. Logan’s inner demons frequently become the center of the piece as he grapples with his own choices whilst struggling with the various mishaps that he’s become a part of.

The sweeping vistas of the Oregon wilderness are as much a part of the story as the characters themselves, creating an atmosphere that is at once captivating and melancholic. Canyon Passage is an intelligent, emotionally layered Western that has often been overlooked but remains an essential part of the genre’s history, also skilfully threading political elements into its brief, yet effective, run time.

3. Rawhide (1951)

At first glance, Rawhide might seem like just another 1950s Western, but it stands out for its taut, almost noir-like structure and its focus on human psychology under pressure. The film takes place at a remote stagecoach relay station, where Tyrone Power plays the station master, and Susan Hayward portrays a traveller caught up in the tension when a gang of escaped convicts takes over the station.

It’s not the first or last time we see a siege in a Western, but Rawhide’s drama unfolds in its dialogue and moral indistinctness, with the claustrophobic set up forcing characters to us their brains rather than brawn to somehow detach themselves from the horror unfolding.

Hayward’s performance especially is terrific—her portrayal of a woman who must quickly adapt to a dire situation is both strong and nuanced. She is more than just a damsel in distress; instead, she’s a fully realised character who forces the men around her to rethink their roles in this tense drama, arguably not something we’re accustomed to from the era.

Rawhide may not break new ground in the genre, but it executes its simple premise with exceptional skill, drawing viewers into its intense, claustrophobic atmosphere, and laid down a marker for things to come.

4. The Hanging Tree (1959)

Robert Wise and Delmer Davis’ film is a rare beast within the genre in that it lingers long after the credits role. On the surface it qualifies as a Western for sure; there’s a gold rush town, saloons, naturally a gunslinger or two, but The Hanging Tree has plenty to discover beneath its seemingly standard surface.

Cooper plays Dr. Joseph Frail, a haunted physician who arrives in a rough Montana gold camp with a gun, a past, and a rigid moral code. When he saves a young man (Ben Piazza) from a mob, and takes in a wounded woman (Maria Schell), his self-imposed exile begins to crack.

The script (co-written by the infamous, and at the time blacklisted, Dalton Trumbo, under a pseudonym) is deceptively tight, slow-burning, and weirdly psychological. There’s a gothic-like undercurrent running through the film—jealousy, obsession, control—and the tone never quite lets you relax. It’s a Western but one that’s frequently at odds with its own classic genre.

The Hanging Tree is underseen, underrated—and at times, kind of brilliant.

5. The Great Silence (1968)

Arguably one of the most radical and bleak Westerns ever made, The Great Silence (1968) is a masterpiece of nihilism and despair. Directed by Sergio Corbucci, this film features Jean-Louis Trintignant as a mute gunslinger who must face off against a sadistic bounty hunter played by Klaus Kinski, and thankfully Werner Herzog is nowhere in sight.

Set in a snow-covered frontier town, the film emits a coldness that permeates not just the landscape but the hearts of its characters. Trintignant’s character is more ambiguous—silent, withdrawn, and marked by a tragic past. The Great Silence is well titled, dealing in themes of isolation, moral torpor and leading to the ultimate subversion of the classic Western ending, revolutionary for its time, and a comment upon the futility of the concept of revenge.

Just saying that “cowboy culture in the modern setting” already has an intriguing ring to it. No wonder some of the best shows of our modern times were “Justified” and some of the masterpieces of modern cinema have been films like “No Country for Old Men”.

The audience loves this sub-genre because speaks to both the genre’s roots in traditional Westerns and its contemporary reinterpretations. It becomes fascinating to watch western mythology and its themes in the modern setting. It also helps that some of the neo-westerns are far from clear-cut archetypes of the classic westerns. Instead, they focus on more nuanced, flawed, and complex characters. They also incorporate elements from other genres, especially crime dramas, which makes them appealing to a broader audience.

Examples of the modern “first phase” of neo-Westerns include films such as “Lonely Are the Brave” (1962) and “Hud” (1963) and while it never got too popular enough to turn into a trend or something, the neo-westerns have existed since then and gave us some truly amazing films like “Hell or High Water”.

As with every genre and sub-genre, there are of course lots of entertaining, thematically rich and/or thought-provoking films that went under the radar. Here are the ten neo-western films that hopefully will not appeal not only to western fans but to everyone else as well. We’ll have some action-packed ones, more slow-burn types, some funny and some sad – all kinds, so any type of neo-western fan can enjoy.

10. Mystery Road (2013)

Aussie Westerns always deserve attention, so maybe it’s better to kick off the list with this one. It gets especially interesting when they address the issues of racial dynamics and Indigenous experiences in Australia and this film belongs to that category. While there are clearly influences from the American western cinema, the final result is still very Australian.

The film begins with a chilling discovery— the body of a teenage girl found by a truck driver, setting the stage for newly promoted Indigenous detective Jay Swan’s investigation into a crime that is dismissed by his colleagues due to the victim’s Aboriginal background. Facing indifference and hostility from both the white authorities and his own community, Swan’s pursuit of justice becomes a deeply personal reckoning with identity and institutional corruption.

The film was directed by Ivan Sen, who masterfully crafts an atmosphere of tension through minimalist sound design and a slow narrative pace. This can obviously bore the viewers who got used to more action-packed/fast-paced films, but still it’s worth to give a chance even if you don’t like slow cinema much. The cinematography and the ambient sounds in particular, creates such a meditative experience that you feel very involved with the whole thing. You feel Jay’s isolation yourself. The performances are all good, with some notable work from Hugo Weaving and Jack Charles.

The screenplay for the film was inspired by a tragic event in the filmmaker Ivan Ser’s own family involving the unsolved murder of an Aboriginal girl in rural New South Wales and he feels connected to the main protagonist in some ways. Here he aims to present Indigenous culture through a genre lens, using the murder mystery format to explore deeper societal issues that are usually overlooked and the result is impressive. The film later resulted in a spin-off series with the same title.

9. A Night In Old Mexico (2013)

Robert Duvall is an underrated western icon. He feels a little underrated in general as well; the man has made lots of films in so many different genres and his performances in films like “The Great Santini” and “The Apostle” can go toe-to-toe with any actor that are considered among the greatest of their generation.

Duvall’s own favorite performance is in the western series “Lonesome Dove” (arguably career-best work) and he has given many other amazing performances in the genre, both on TV and in film. He’s convincing both as a hero and as a villain; you can just watch him in “Joe Kidd” and “Open Range” to see what he’s capable of doing. That’s why “A Night in Old Mexico” deserves a mention, it’s one of the last films that gives him a chance to shine in this kind of role. Is it a great, flawless film? Probably not, but Duvall’s performance alone makes it worth watching. His performance is full of nuances and brings depth to his character, showcasing not just a tough exterior but also the vulnerabilities that come with age and loss.

Of course, there are other great elements as well. Critics and audiences alike often overlook the film due to its quieter pacing and understated style. The genre is best known for its gunfights and heroic showdowns, that’s why the film taking a more reflective approach, inviting viewers to ponder the complexities of life, family, and legacy probably didn’t appeal to everyone. Back to the performances, the supporting cast has a lot of fun characters. So much so that one critic said it reminds Elmore Leonard novels in that regard. The film might not win the regular watcher’s heart easily but if you love to watch veterans in a great late-career starring role, this is a good one.

8. The Last Stop in Yuma County (2023)

A quirky, independent neo-Western/noir that has a simple story but tells it in a very non-simple way which makes it both thrilling and exciting. It helps that it has a lot of Coens and Tarantino influence in the best way possible. Back in the 90s, indie thrillers like that had more chance to do modest enough box office but now, unfortunately, they get lost. That’s a shame because this taut, stylish thriller deserves a bigger audience.

It’s directed, written, and edited by Francis Galluppi who made his first feature film debut here but his previous experiences at making shorts or music videos are evident here because some shots feel like they’re coming from a seasoned veteran. He was even close to scoring the film as well. The story is set in a remote desert location in Yuma County, Arizona, in the 1970s and follows a traveling knife salesman who finds himself trapped at a remote gas station with a pair of criminals who have just pulled off a bank robbery. Then the situation gets intensified.

The story plays around with the classic Western themes of honor, survival and deception. Even if you’re not a fan of these type of films and think they all come off as very “samey”, you’d still want to give it a chance because the characters here are very colorful and the film has its own ideas that sets them apart from the usual black comedy crime films of its kind.

The cast, in particular, are all familiar faces if you’re into American independent cinema. Galluppi has picked them all without auditioning, and them all being cinephiles and passionate actors about their craft have all added something to it. He claims nobody was there for the paycheck and it shows. The film proves that (neo-)Westerns don’t need epic landscapes or brutal shootouts to be engaging—sometimes, all it takes is a gas station and a handful of interesting characters.

7. The Way of the Gun (2000)

Christopher McQuarrie was perhaps best known for writing Bryan Singer projects, most notably “The Usual Suspects”. After directing this film, he found himself in director’s jail up until finding a new career path by collaborating with Tom Cruise on things like “Top Gun: Maverick”, “Valkyrie”, “Mission: Impossible” franchise, and “Edge of Tomorrow”. One of the many reasons that made him such a reliable collaborator with Cruise is his deep knowledge of cinema. The last phase of Cruise’s career might feel action-heavy but some of them like “Maverick” is much more dramatic while “Edge of Tomorrow” is more comedic with heavy sci-fi elements.

Things like that show McQuarrie’s versatility and here in “The Way of the Gun” he brings a brutal, cynical take on the Western outlaw story. Benicio del Toro who had major breakthrough with McQuarrie-scripted “Usual Suspects” and Ryan Phillipe play two low-life criminals who who kidnap a pregnant surrogate mother (Juliette Lewis), only to find themselves entangled in a deadly game with ruthless mercenaries and mobsters.

The cast is all excellent and it’ll make you sad once again about James Caan’s passing. Who knows why this film didn’t get the attention it deserves because it has everything that many films these days lack; Unpredictable storyline, morally ambiguous and complex characters, stylish shots, and very sharp dialogues. It shows that maybe McQuarrie should try to do something less action-y but more like this with Cruise. Some of the influences are obvious, especially the 70s crime films but “Way of the Gun” feels very original. It has a depth to its story with a screenplay that has wit and holistic tone. The climax alone deserves an extra point. Less innovative than “The Usual Suspects” maybe but certainly worth watching.

6. Down in the Valley (2005)

Edward Norton is not a fan of the cowboy values, at least, not the way it was romanticized in the films. He thinks the whole American ethos of individualism and the idea of taking care of business and family, and of guns manifests itself in “all kinds of weird ways”. That’s how you get that this film will be much different than your traditional western.

Norton and the film’s writer David Jacobson had conversations about what kind of character and story they wanted to bring to the audience. David has told Edward that he’s really interested in fantasy and the role it can play in being a positive act that a person or creates themselves through and then the way fantasy can become negative if a person can’t integrate with reality.

Indeed, his film plays out like an unsettling psychological drama. Norton plays a drifter who has a deep faith in classic cowboy mythos but his obsession with a teenage girl, played by Evan Rachel Wood, soon will turn into something darker than Harlan’s fantasy of a noble outlaw. Even though Norton claims they looked at films like “Lonely Are the Brave” and “Giant”, you can see some conscious or subconscious inspirations from “Midnight Cowboy” and “Taxi Driver” as well.

The film is interesting dissection of the dangers of nostalgia and the consequences of believing obsessively in the myth. The performances are all fine enough, and visually there’s lots of good stuff to be found as well. While it’s shift from a seemingly unusual romance drama to a psychological thriller might be off-putting for some, but it’s still a haunting film worth checking out, especially if you’re into more revisionist type of westerns or are fans of the cast.

“3:10 to Yuma was one that I just kept on talking and thinking about after reading it. And I think the reason is because, like in most Westerns, you have the very clear-cut bad-guy/good-guy. However, as the movie progresses, you kind of see that it’s a very fine line that divides these two.”

— Christian Bale

Lazy critics often pontificate assertions like: ‘the western genre is dead.’ They seem unaware of the fact that brilliant western movies are released every year. The genre clearly has an enduring appeal as a fan favourite. 2024 alone saw the release of The Thicket, with Peter Dinklage, and Place of Bones, with Heather Graham. Westerns continue to evolve into new and unexpected realms, such as the sci-fi crossover Cowboys and Aliens (2011). While western fans are comfortable with classics like The Searchers (1956), this list aims to expand their taste. It will reconsider some of the genre’s lesser-known or inaccurately rated titles.

1. Shoot the Living and Pray For the Dead (1971)

After stealing gold bars, Dan Hogan (Klaus Kinski) and his bandits waylay inside the Jackal’s Ranch stagecoach stop. There, Dan meets John Webb (Paolo Casella), who offers to guide the gang to Mexico. Dan is unaware that John holds a grudge against him for what he did to his father.

Firstly, Shoot the Living and Pray For the Dead is remarkably minimalist. With a lean story and structure, it is chiefly contained to one location. Its theatre play nature gives stage to another maniacal performance from Klaus Kinski. Bringing the madness of his personal life, Kinski’s horrific, commanding turn seals his status as one of the 20th century’s most superlative, riveting actors.

The film itself is an exemplary, intense, yet forgotten spaghetti western, featuring a catchy hippie-era soundtrack. It would prove to be an influence on Quentin Tarantino’s The Hateful Eight (2015). In its wider significance, Shoot the Living and Pray For the Dead can be interpreted as a criticism of capitalism. In addition, it may also be analysed to possess parallels to the Vietnam War — at its height during the movie’s release.

2. The Last Outlaw (1993)

A group of former Confederate soldiers rob a bank. When their leader, Graff (Mickey Rourke), leaves one of them for dead, the gang mutinies, absconding with the money. Graff allies with the law to track them down.

A TV movie with a cult following, The Last Outlaw is a who’s who of America’s finest character actors. It is enhanced by the inclusion of Steve Buscemi, Keith David and John C. McGinley. Similarly, as with all his B-movies, the gravitas of Mickey Rourke’s captivating lead ameliorates the generic material. The Last Outlaw is comparable to a desert-set slasher movie, with the characters being picked off one by one. Eschewing substance, the constant action is simply pure entertainment, seen in instances such as a horse galloping through a bank. Resultantly, The Last Outlaw is recommendable to a group of male friends in search of uncomplicated evening viewing.

3. The Quick and the Dead (1995)

In 1881, ‘The Lady’ (Sharon Stone) rides into the desert town of Redemption. She aims to exact revenge upon the mayor, John Herod (Gene Hackman), who was responsible for her father’s death. First, however, she must compete in a shooting tournament. The supporting cast is comprised of Leonardo DiCaprio, Russell Crowe, Keith David and Gary Sinise.

Finally, The Quick and the Dead refreshingly sees the long-overdue casting of a female gunslinger protagonist. That said, much like the rest of his filmography, Hackman’s shockingly cruel, dominant performance is the movie’s prime virtue. Akin to his biblical name, Herod serves as a synecdoche for tyrannical authority figures all over the world. Through him, the innate immorality and unfairness the establishment imposes upon its subjects is exposed and critiqued.

Meanwhile, Leonardo DiCaprio’s characteristically brilliant acting foretokens the success to follow later in his career. What is more, Sam Raimi’s creative, idiosyncratic direction sets The Quick and the Dead apart from similar westerns. This is pertinent in the cartoonish cinematography, incorporating zooms, Dutch angles and sepia colour grading. With Evil Dead II’s (1987) flair, Raimi paints both a homage to and a parody of Sergio Leone’s Dollars Trilogy.

4. From Dusk Till Dawn 3: The Hangman’s Daughter (1999)

Desperado Johnny Madrid (Marco Leonardi) escapes the hangman and kidnaps his daughter. They hideout in a saloon, which turns out to be inundated with vampires.

This straight-to-video production is a prequel to From Dusk Till Dawn (1996), which was written by Quentin Tarantino and directed by Robert Rodriguez. Tarantino pitched the story that would become From Dusk Till Dawn 2: Texas Blood Money. At the same time, Rodriguez pitched the idea for From Dusk Till Dawn 3: The Hangman’s Daughter, selecting P.J. Pesce as its director. Both the second and third instalments were filmed in South Africa. As one would expect, From Dusk Till Dawn 3 is gory, visually-rich, over-the-top fun, entertainingly combining vampire lore with old west cowboys.

It depicts real-life historical figures, including Mexican revolutionary Pancho Villa and author Ambrose Bierce. Danny Trejo appears in every entry of the franchise as the immortal barman. Concurrently, as in Kill Bill Vol. 2, Michael Parks further proves himself to be one of Hollywood’s most unrecognised, yet dexterous talents. Correspondingly, Rebecca Gayheart excels here, enough to catch Tarantino’s attention, casting her in Once Upon a Time in Hollywood (2019). The character Johnny Madrid is referenced in that film. B-movie fans are advised to ignore From Dusk Till Dawn 3’s savage critical reaction, to revel in its fantastical, silly, genre-delivering chaos.

5. Dead Birds (2004)

Bank robbers hideout in a haunted plantation mansion. The cast includes: Michael Shannon, Isaiah Washington and Mark Boone Jr.

Rejuvenating a well-worn genre, Dead Birds stirs in Lovecraftian horror and fantasy. It further differentiates itself from other westerns by being set amongst the Spanish moss of Alabama, rather than the desert. A hallmark of great haunted house movies, Dead Birds succeeds in constructing a spooky atmosphere. This is engendered through the scuttling sound design, shadowy candle lighting and slow camera pans. Although there is a gradual buildup to the action, the eerie tension is sufficiently intriguing to keep its audience engaged. As underrated as the film itself, Mark Boone Jr. consistently supplies interesting subtext to his characters.

As Joseph, Boone exhibits dissatisfaction and brooding anger. Although his character’s backstory remains unexplained, Boone’s detailed preparation alludes to Joseph’s timeline before the movie’s start, how his personality developed. This results in Joseph coming across as a believable character, contrasting the supernatural elements. While Dead Birds is fundamentally grindhouse entertainment, there exists a more serious undertone of racism, looking into antebellum-era slavery. This rises to the surface when William (a white character) says to Todd (a black character): “I saved your life more times than I can count.” Todd retorts: “that don’t make it yours.”

Movies pass on from the modern zeitgeist from time to time, particularly when the audience they were made for has largely left us. Even entire genres can begin to feel played out. In no case is this truer than with classic westerns. Filmmakers should be sure of themselves before striking out into territory so well covered in the past. Yet that doesn’t mean the classics are bad movies by any means. Many classic westerns still pack the punch they did in their heyday, with the added benefit of showing us where we – and the genre – have been.

1. Beyond the Law (1968)

A spaghetti western caper film starring Lee Van Cleef as Cudlip, a drifter with a pair of companions and a plan to steal a silver shipment from a mining community. They prefer to rob by trickery rather than violence. It’s a pleasure to watch Cudlip as he navigates a landscape made treacherous by his own lies. But he’s not the only one with designs on the silver. A gang of ruthless outlaws plans to steal the silver by any means possible.

It’s not easy to cast Lee Van Cleef as the star protagonist in a spaghetti western, because his face bespeaks villainy. He looks like he’s mean enough to shoot a man’s dog just for the pleasure of watching him cry. But casting Gordon Mitchell opposite him as the villain is certainly a step in the right direction, because he looks absolutely menacing without even raising an eyebrow. There are also some fine support performances here, and while this may not be an “A” movie, it’s certainly compelling enough to keep the butts in the seats and the eyes on the screen.

After stealing one payroll, Cudlip and his friends, a villainous preacher and a man named Sampson, are keen to steal another. They set up in town to begin putting their plans in place. Cudlip befriends a mining engineer who was placed in charge of the payrolls and ore shipments, Ben Novak (played by Antonio Sabato Sr.). Novak soon decides Cudlip’s skills with a gun are good enough to hire him on as a guard for the payrolls, which is exactly how Cudlip wants things – until he runs across the outlaws who also want the money. They save the payroll but only after a running shootout from the stage. Cudlip begins to catch feelings for a woman in town, and his attitude begins to change. Just in time for the final shootout. “Beyond the Law” has enough twists and turns to satisfy, and an ending that feels both surprising and rewarding.

2. The Big Country (1958)

You know Gregory Peck is a huge actor when he leads a western like “The Big Country,” with a supporting cast composed of Charlton Heston, Alfonso Bedoya, Chuck Connors, and Burl Ives, all of whom have carried lead roles themselves. But they’re needed for a movie this big, coming in at nearly three hours long with absolutely gorgeous cinematography and scenery.

Peck, as former sea captain James McKay, is the fish-out-of-water greenhorn, come west to Montana to marry the daughter of well-to-do rancher Henry “the Major” Terrill. He is soon put to the test by friend and foe alike as he’s seen as an undeserving tenderfoot (even his betrothed clashes with him). What they haven’t reckoned on is that while he may be inexperienced in the ways of cattle and life in the saddle, a life as a ship’s captain has imbued upon him an iron will. He soon finds ways to broaden his options.

Burl Ives puts in an especially good performance (for which he won Best Supporting Actor at both the Oscars and the Golden Globes) as rancher Rufus Hannassey. It’s truly Burl Ives as you’ve never seen him, he seems downright dangerous and unhinged. As a special note, fans of Nickelodeon’s “Ren and Stimpy” from the 90s will recognize several of Burl Ives’ lines from this movie as bizarre lyrics from “your old pal” Stinky Wizzleteats’ “Happy-Happy, Joy-Joy” song.

Things draw to a major head when the Major and his men retaliate against Hannassey and his clan for some shenanigans they pulled, beating and demeaning some of Hannassey’s men in town. This fuels a running clash that comes to a head in a confrontation of the kind that never truly settles anything, and the two factions are locked into a climax as large as the rest of the movie; it seems the new and unexpected future can’t proceed forward until the past has been expelled.

3. Hour of the Gun (1967)

James Garner (in one of his finest dramatic acting performances) and Jason Robards form the friendship at the heart of this retelling of the Gunfight at the O.K. Corral, and they don’t disappoint. On the one side, Garner’s Wyatt Earp is the principled and fair lawman that the real Wyatt Earp would probably never have been able to live up to. Jason Robards plays the dark and cynical Doc Holliday. Together they provide the contrast that so often makes a cohesive pairing.

“Hour of the Gun” purports itself to be “the way it happened,” and while it is more accurate than most of the O.K. Corral films that came before it, it does still have some big inaccuracies. Inevitably, it puts story before historical accuracy (forgivable since the purpose of the film is first and foremost to entertain), and indeed, one might wonder where the interest can be in watching yet another O.K. Corral movie, but this one does have many points in its favor. First, it gets the O.K. Corral out of the way first thing. Second, it shows a small portion of the court trials that came after, which are rarely covered by movies, but which are the genesis of much of the official transcript and are interesting to see, nonetheless. “Hour of the Gun” largely covers the hunt for the “Cowboys” that followed the famous showdown, with Robert Ryan as the primary opposition, Ike Clanton.

The subtext of the movie lies in watching Wyatt Earp and Doc Holliday slowly swap positions, with Holliday taking the mantle of the moral hero and Earp falling to his own thirst for revenge. Indeed, the opposition and transformations within the heroic duo play even larger than story of Earp hunting Clanton. In the end, the climactic battle goes entirely unspoken, only facial expressions and actions convey the thoughts of the duelists.

4. The Nevadan (1950)

Skilled stunt-riding, exciting gunplay, a strong romance secondary to the main plot, and the beautiful scenery around Lone Pine California are all western staples that The Nevadan does well. Where this movie sets itself apart from the norm is the mystery. Who is Andrew Barclay (Randolph Scott), really? How can a greenhorn dandy be so skilled at the ways of the rugged West? Why is he trying to aid the robber, Tanner (Forrest Tucker)? Even Tanner doesn’t seem to know. What is known is that Tanner has hidden $250,000 in stolen gold (worth more than 8 million dollars in today’s economy), and everyone in the territory seems to want it.

It’s easy to see how Randolph Scott became such a huge star in his day. Like John Wayne or Arnold Schwarzenegger who came after him, his acting consists largely of playing himself, but he’s a large enough personality to carry the lead in a major motion picture. It’s easy to see why, with his winning smile and strong personal magnetism, it’s a pleasure to root for him, even if it’s not immediately plain what his role in the film is.

Dorothy Malone plays against type in a surprising and refreshing performance as a strong and capable young woman who happens to be the daughter of one of the parties interested in the gold.

The truly entertaining part of the movie, though, is watching Scott and Tucker (of “F Troop” fame) manipulate each other in a chess match of double-cross and one-upmanship. Those waiting for a strong finish aren’t disappointed by The Nevadan. All the plotlines and characters throughout come together by the end for a satisfying finish.

5. Forty Guns (1957)

This unique movie may be one of director Samuel Fuller’s finest; it’s at least one of his most discussed. The entire film is beautifully shot (perhaps the most compellingly filmed movie on this entire list), with experimental shots that hark back to Fritz Lang’s “M.” It seems Fuller was also eager to show off the widescreen movie format with breathtaking scenery shots, but he also thoroughly used close-ups throughout the movie. The effect of all this is a highly stylized and beautifully done movie.

A female lead in a western movie is another unusual choice, and Barbara Stanwyck displays the talents that made her a living legend of the big screen in her own time in the role of powerful landowner Jessica Drummond. Barry Sullivan presents a strong showing as her romantic interest, Griff Bonnell, and he and his two brothers arrive in Tombstone, AZ, on a job for the Attorney General, looking to arrest a tough named Howard Swain for mail robbery. Unfortunately for them, Swain is one of Jessica Drummond’s forty hired guns (led by her evil brother, Brockie). She runs the territory by default, through force of arms, and even allows her men to menace and wreck up the town at their leisure. Griff and his kin stop Brockie in the middle of one of his rampages, with as little bloodshed as possible. Griff’s brother falls in love with a local woman, and he decides he’s going to stay on as the town’s lawman.

Meanwhile, Griff and Jessica begin to fall for each other when Griff saves her from being dragged by a horse during a tornado (films from this era don’t normally draw comments for special effects, but that’s where “Forty Guns” once again differs from the norm, with a nice tornado effect that, while it may not be photo-realistic, gets the job done, even in today’s era of easy digital effects).

The climax comes when Griff’s brother is shot by Brockie at his own wedding, and Brockie is arrested for murder. Jessica spends big money trying to set him free, but the jury doesn’t see things their way, leading Brockie to escape, inviting the climactic showdown, which may not include forty guns, but it’s intense and surprising.

Lots of people have called the westerns the most distinctively American genre and of course, it makes sense, it usually sets in the American frontier overall! However, as obvious from Sergio Leone’s films, not all the best westerns were made in America. So many people around the world enjoyed the western formula and its mythology. The westerns as a genre can be an allegory for a lot of modern-day issues, the same way as gangster movies or horror movies are which is why it always had a very universal appeal.

It’s not surprising that the influence of the Westerns extends far beyond Hollywood and the American independent scene in general, captivating audiences and inspiring filmmakers all around the world to explore their own tales that are set in a Western atmosphere, or sometimes directly in the American West. These international films may not always feature American cowboys but they embody the essence of the genre by exploring the themes we all know and love to see in these kinds of films.

From spaghetti Westerns to more obscure non-Hollywood gems, Westerns have transcended borders and now in this list, we’ll explore ten underrated non-Hollywood/non-American Western films that the fans of the genre might find interesting, especially because each movie showcases unique cultural perspectives on the Western archetype.

10. The Tracker (2002)

Australia has a long history with Western films, in fact, “The Story of the Kelly Gang” is considered by some as the world’s first feature film, and guess what, it is an Australian Western! That’s why it made sense to start the list with this one because ever since then the country has produced some very strong films in the genre. Perhaps, if you’re a Western fan you already know “The Proposition” which often appears on the best or underrated westerns lists (and it’s certainly great!), so it’s better to go with something more underrated/overlooked. Here we are with “The Tracker” which was described by Roger Ebert as one of the rare films that can be described as “haunting”.

Set in 1922, the film follows a group of white men, including a policeman and two civilians (The Fanatic, The Follower and The Veteran as they’re credited), as they pursue an Aboriginal fugitive accused of murdering a white woman. They are guided by “The Tracker,” an Aboriginal man played excellently by David Gulpilil, who becomes the moral and narrative core of the story.

The film is visually striking and mostly very interesting. For example, rather than depicting violence on screen, de Heer uses paintings by artist Peter Coad to represent moments of brutality, which is an interesting choice and it works. There are several other very fine stylistic choices that highlight the film’s thematic focus on the consequences of colonial violence.

Though the story is set in Australia, its themes of racism and the clash between Indigenous cultures and colonizers resonate globally as it was the case in some other Australian westerns like “The Nightingale” (which is another recommendation in case you haven’t seen). This is a film that refuses to give simple answers to its questions which is why it’d appeal to those who want their westerns to be a little more complex than they usually are.

9. Cut-Throats Nine (1972)

Brutal, dark, depressing, bloody, nihilistic – if all these sound great to you, then you perhaps will enjoy “Cut Throats Nine”, a strong Spanish entry in the genre which also works as a survival film and even as a horror film. It got a lot of attention at the time because some deemed it to be the most gruesome Euro-western of its time but still, it came out during the height of the Spaghetti Western boom, and it got lost among the bigger films of the era.

The film is about a small group of convicts and their escort, Sergeant Brown (played by Claudio Undari who claims the gore scenes were added afterwards to please the American distributors), as they traverse through a frozen mountain pass in the dead of winter. Things take a turn on their way to a remote prison when convicts rebel and kill the guards. The only survivors are Brown and his daughter, who find themselves stranded with the remaining convicts in a desperate struggle for survival. As you can see from the plot, this is not your average western about “good guys vs. bad guys” or about some kind of redemption, it’s a very dark and bleak study of human nature.

Every character here is morally grey, and some are way too brutal. That makes the story only more intriguing though, because it has no hero, no good guy and even by modern standards, it can be shocking to watch these convicts and their internal rivalries’ violence. One thing for sure no one can romanticize violence in this one. That said, it’s not some “torture porn” and it has lots of strong visual choices that gives it a certain poetic quality. The fans of the traditional kind of westerns will be highly disappointed but those who prefer to see darker corners of the Westerns with all its intensity, then it might be a great choice.

8. Deadlock (1970)

Paying homage to Sergio Leone’s films, especially to “The Good, The Bad and the Ugly” are not something uncommon but when they try to do that, there’s always a risk of ending up as a cheap imitation. Thankfully, “Deadlock” has enough of its own character to set itself apart. It helps that it also has strong elements of European arthouse cinema.

This is a small but intriguing film. The story follows “The Kid” who stumbles into a desolate town in a desert, with a suitcase full of cash. Opportunistic man Charles Dump discovers it and then more characters arrive in search of money, including Kid’s ruthless partner “Mr. Sunshine”. Again, regardless of the homage/influence, the movie works so well. First of all, it sets itself apart with its setting. Shot in desert-like landscapes in Israel, the film has a look of its own. While obviously featuring a lots of western trademarks like the gunfights and themes of greed, the film also works as a psychological thriller with its great exploration of paranoia and survival game.

As some other films on the list, here also the film also doesn’t shy away from making its characters unlikable because they’re still mostly motivated by their greed rather than any kind of morality. The filmmaker Ronald Klick uses a dreamlike quality and minimalist approach to build the tension and it works. The atmosphere is indeed haunting, the film almost has a post-apocalyptic feel to it. The soundtrack, by the German rock band Can is also notable, with its score being an interesting mix of rock and avant-garde soundscapes and they add otherworldly dimension to the film. Nowadays, that’s the most popular part of the film in Germany. The film didn’t get much attention outside of its home country but through the years, it managed to gain a cult following.

7. Blood on the Land (1966)

Vasilis Georgiadis is the only Greek filmmaker whose two films got nominated for Oscar in Best Foreign-language Film category, “The Red Lanterns (1963)” and this one. Certainly, the Academy Awards usually bring attention to these films, especially if they win but even if not, them being nominated is still a big deal and it encourages many people to check them out. Yes, even if you hate the Oscars, it still holds a certain merit. However, in this case, it seems not enough people had checked this one out which is a shame. One would wish it was more available in a better quality around the world.

The westerns were very popular in Europe at the time and the Greek film industry was at first not sure what kind of western they could come up with because pretending they’re Americans in an American setting might not have work out well. Instead, Georgiaidis brings attention to deep-rooted tensions between wealthy landowners and poor farmers in a rapidly modernizing Greek society.

It’s about two brothers who return to their village after fighting in the Balkan Wars. Their father has leased a large portion of the family’s land to tenant farmers, causing a feud between the brothers. One of the brothers is more traditional kind and the other one has a desire for wealth, so they take different sides. Things soon get violent. It’s a film that is true to social and political realities of Greece of its time and highlights the struggles of the tenant farmers.

It has the influence of the American westerns but this is not a cowboys vs. outlaws type of story, it’s more about the class, about the rich and the poor, about the old and the new, about community and individualism, justice and greed. That’s what makes it a unique entry for the genre. It’s both distinctively Greek and universal. For those who want their Westerns to explore new cultural landscapes, this is a must-see.

6. Tears of the Black Tiger (2000)

Here comes a truly wild one. Very imaginative Thai film that blends many genres. Romero style horror, Sirk style melodrama, Tarantino style crime film, Peckinpah style western – these are just some of the things that the film got compared to, and for all the good reasons. It’s an equal parts homage and satire. Not only of these things already mentioned, but also of Thai cinema’s own romantic drama and action films of previous times. It’s a very hard thing to do; because you have to show both love and some critique at the same time. Here, they succeed it to make it work because first of all, it’s hard to see anything like it.

The story follows a poor farm boy who grows up to be an outlaw. He falls in love with the daughter of a wealthy aristocrat and the class differences brings the further chaos. The story, while interesting and not something just thrown there for the sake of it, is not the main focus here. It’s this amazing, striking visual choices that makes it fascinating. The film’s hyper-stylized look is reminiscent of Technicolor films from the 1950s, hence the Sirk comparisions. But they have taken it to an extreme, creating a surreal and almost cartoonish aesthetic.

The hallmarks of a classic Western are all there as well but in its heart, it’s a self-aware melodrama with its central focus being the tragic romance between our lead characters. As you can expect, the action scenes are similarly intense and over-the-top as well. They pretty much defy the laws of physics at times and that’s what makes the film so much fun. Beneath all the playful, crazy stuff, there’s still a heartfelt story to be found. Possibly another action-packed Asian film of the time “Crouching Tiger, Hidden Dragon” got all the attention but this one deserved to be seen by more. Its weird charm will impress you.

Defining classic is tricky, and determining which classics are more seen than others is even trickier. For entry-level purveyors of the Western, the following ten films exist in the outer circles of the genre’s dartboard, far removed from AFI lists or IMDb boards yet close enough to be available to watch, providing you have a good look.

Spanning the Golden Era to the Revisionist and Spaghetti Western era, the following films are all united by one crucial aspect: they are bloody brilliant Westerns.

1. The Gunfighter (1950)

Gregory Peck and Henry Fonda have very similar careers: both are known for playing the everyman American hero searching for justice, both made a Hitchcock film, both played a villain against type in their older years. The Gunfighter is one of Gregory Peck’s best Westerns, and feels like his answer to Fonda’s My Darling Clementine; a morality tale about the law in the Old West and the burden of being a famous gunslinger.

Henry King, who also directed Peck in The Bravados, films in wonderful black and white, keeping his leading man’s admirable, authentic moustache in constant view. Peck plays Johnny Ringo, one of the most compelling characters in the genre. Ringo is the fastest draw in the West, an unbeaten gunfighter. His legend is renowned and everywhere he goes young boys seek to challenge him and kill him to become the next legend of the frontier. Skip Homeier plays Bromley, the aspiring gunfighter who wants to take Ringo’s place. It is only by the end that Bromley realises the curse of glory, deconstructing the celebrity mantle as he faces a life of social exile, never able to attach himself to something he loves because he will always, always be chased. A remarkable film.

2. Vera Cruz (1954)

Vera Cruz is notable for one seriously overlooked aspect: it took the Western to the fringes of cynicism and war in Mexico, specifically the Franco-Mexican War in the 1860s. With characters caught in the crosshairs of moral ambiguity, Vera Cruz is a foundational text for the evolution of the genre.

The wattage is high with Vera Cruz’s electrifying star power: Gary Cooper and Burt Lancaster, two of the most reliable leading men of their era, lead the story as Ben Trane and Joe Erin respectively. Ben is a former Confederate looking to use his skills as a mercenary down south, whilst Joe is a dangerous leader of a bunch of cutthroats. The two fall in together and eventually clash over gold. Cesar Romero, the original Joker, plays the Marquis.

Shot entirely in Mexico, the first American film to do so, Vera Cruz is a fast-moving action-packed film, with Robert Aldrich calling the shots with skill from behind the camera.

3. Bend of the River (1952)

Everyone remembers Martin Scorsese and Robert DeNiro, John Ford and John Wayne, Tim Burton and Johnny Depp, but how many note Anthony Mann and James Stewart? From 1950 they made eight films together, and five are very good Westerns. Winchester ‘73, their first, remains the apex, but Bend of the River, their second, is hot on its heels.

James Stewart shed his everyman boy-scout persona in Winchester ‘73, and he doubled down on it in Bend of the River, proving that it was not a one-off against-type casting. As Glyn McLyntock, Stewart delivers a murky performance, navigating an uncertain line of morality. Similarly, Arthur Kennedy as Emerson Cole has to leave a trail of moral uncertainty. The rest of the story and characters are engaging, but it is the connection of these men that the movie leans on; are they friend or for? What is their breaking point? Life debts are exchanged but as the industrial world transforms around them, will they hold? Excellent scenery awaits.

4. Sergeant Rutledge (1960)

John Ford famously contained his Western narrative with The Man Who Shot Liberty Valance, but he did it a few years earlier for a film that strangely has not had as big a legacy: Sergeant Rutledge. A courtroom film meets, Western, the 1960 film is most notable for its African American lead: Woody Strode plays the title character. Ford, whose career has been divisively analysed for his attitudes towards race, took a huge swing by telling a Rashomon-style story about the framing of a black man.

Admittedly, Ford was still playing in the park of the 1960s: Strode is billed fourth and his story and closure is ultimately secondary to the romance of a young white couple. Strode makes it count, bringing his stoic demeanour to the proceedings with a simmering rage. Shot in colour, it is a Ford film so it looks great, too.

5. The Sons of Katie Elder (1965)

For pure enjoyment, hanging out with Henry Hathaway, John Wayne, Dean Martin, Elmer Bernstein and a young Dennis Hopper ranks highly. Katie Elder is never in the film, yet she casts a huge shadow and bags the final sentimental shot. This is a film about family and legacy; four sons reunite at their mother’s funeral and assess if they lived up to what was expected of them. Wayne and Martin, reuniting after Rio Bravo, crackle on screen. Playing the other two brothers are Michael Anderson Jr and Earl Holliman, who lack the star power but know well enough where the spotlight is being placed.

There is a cracking shootout within the film, set around a swampy bridge and the trees around it. It feels more sustained and more chaotic than previous Golden Era set-pieces and is utterly entertaining. Released in the mid-1960s, The Sons of Katie Elder competed with the rise of the Spaghetti Westerns and the emerging Revisionism of Sam Peckinpah and John Ford. In doubling down on cheerful sentimentalism and a brash, Saturday-morning serial energy, Henry Hathaway made this an effortless display of charm. Revisionism and grit is always appreciated, but they only work when in conversation with the simple goods of a film like The Sons of Katie Elder.

Truth be told, the 90s was not the best era for the Western genre but it started out strong, we had masterpieces like “Unforgiven”, and major hits like “Dances with Wolves” and “Tombstone”. There were also epic westerns such as “Far and Away”, “Legends of the Fall” and “A River Runs Through It” starring the biggest stars of Hollywood at the time. Alongside traditional westerns, we were also getting neo-westerns such as “Desperado” revisionist films like Sam Raimi’s “The Quick and the Dead” and funny ones like “City Slickers” and it was all great but for whatever reason, it seemed like there were not enough space for the genre.

Most of the old-school westerns have moved to television and some of the original theatrical releases got overlooked as well. Who knows why because box office hits of the “Young Guns” franchise and “Tombstone” should’ve convinced producers to produce more films in the genre as well as the success of the mentioned epic western dramas but that was the way it was. In this list, we’ll explore those titles that perhaps deserve more recognition.

10. The Newton Boys (1998)

Is it a fully satisfying movie? Not probably but there’s a strange charm about it which is undeniable. Maybe it comes from Richard Linklater’s obvious love for cinema. When you watch one of his films, you feel how much effort he puts into every frame and that’s coming from his passion for the art. It’s also the only time where we can see both of his most popular frequent collaborators Matthew McConaughey and Ethan Hawke in the leading roles, alongside Vincent D’onofrio and Skeet Ulrich. All are well-cast because they all are easily likable and charismatic actors enough to get your attention.

Linklater is the master at making “hang-out” movies and in a way, “The Newton Boys” feels such as well. Some didn’t like this aspect. It’s understandable that many fans of the genre prefer to watch the robberies than the conversations about it but that’s also what makes “Newton Boys” an unusual and original film. Its handsome production and generally absorbing period details make it a mostly entertaining watch.

9. The Hi-Lo Country (1998)

In 1990, Martin Scorsese produced a brilliant Stephen Frears adaptation of Jim Thompson’s pulp novel “The Grifters”. It did fine business at the box office and also got Oscar recognition in numerous categories, even though one can call it “underrated” in our modern world right now because it doesn’t get enough mentions in the cinephile circles anymore. Scorsese collaborated with Frears again this time on a western called “The Hi-Lo Country”, which was a box office flop and got mixed reviews. That’s a shame because the film has so much sincerity to it, almost like “The Last Picture Show”, you feel like you’re in that environment with these characters and you’re interested in them and their actions.

This is also a film that would please the fans of traditional westerns as many elements of it are present throughout the film. Billy Crudup, Woody Harrelson and Patricia Arquette all shine in the leading roles but the supporting cast is full of surprises as well; including a charming turn by Penelope Cruz in her English-language film debut and Sam Elliott in a rare villainous mode. You can also catch Elliott in a villainous role in another western of the era “The Desperate Trail” (1994) and of course, “Justified”. Coming back to “The Hi-Lo Country”, it’s not the right choice if you’re looking for action but as a character drama in a western setting, it’s worth taking a look.

8. The Jack Bull (1999)

John Cusack had a fantastic filmography from 1984 to 2007, then he suddenly stopped caring. Sure, there were highlights like “Love and Mercy”, “ChiRaq” and another western called “Never Grow Old” to prove that he still got the acting chops to impress but he’s seemingly not as picky as he used to be, let’s say. Even in his hey-days, there were films that largely overlooked and that includes “The Jack Bull”, a television western. It must be little more special to him because it’s written by his own dad Dick Cusack, an actor who often had parts in his children’s films but never wrote any other film.

Directed by John Badham of classics like “Saturday Night Fever”, it’s a surprisingly effective western. The plot is too familiar for the genre fans but its execution of it makes it a stand-out. Badham goes for a gritty tone with a compelling lead character whose actions make you ask how far would you go for something you believe in? Could violence be the way to sustain justice? Even though it sticks to traditional old-school Western elements, it refuses to be a phony film with stereotypical characters. Just like any Western needs, the film also has beautiful scenery.

7. Geronimo: An American Legend (1993)

Walter Hill is the master who delivered so many entertaining and cool stuff over the years and the man loves Western for sure. You could see the elements of the genre even in his non-western stuff, that’s how much he loves it. The 90s didn’t bring out stuff as strong as “The Long Riders” but still, Walter didn’t stop. His “Wild Bill” and “Last Man Standing” could be alternatives to “Geronimo” on this list, as they’re both well-made films and certainly deserve little more love but then again, “Last Man Standing” has more fans than this and “Wild Bill” is flawed.

Not saying “Geronimo” doesn’t have any flaws but its impressive direction, intelligent writing, splendidly photographed shots, and mostly historically accurate plot that honors Geronimo and the Apaches are more than enough to overlook them. There’s also a very strong cast that includes Wes Studi, Robert Duvall and Gene Hackman who all deliver top-class acting performances. Unlike most westerns of its kind, the film doesn’t simply paint the picture of “good vs. evil” but treat its character with so much complexity. The film didn’t do well at the box office probably because it doesn’t have the dramatic beats of films like “Dances with the Wolves” but it doesn’t mean it’s bad in any way. The last but not the least, it also features a knock-out soundtrack.

6. Thousand Pieces of Gold (1990)

Based on a 1981 historical novel by Ruthanne Lum McCunn with the same title, the small-budget drama “Thousand Pieces of Gold” is based on the life of Polly Bemis, a 19th-century Chinese immigrant woman in the American Old West which is already an interesting premise for a western because rarely a film has covered the Chinese immigrant experience. She winds up in a mining town in Idaho, where she must somehow work off her debt: 1000 pieces of gold. This is probably the most “arthouse” film on the list with a notably slow pace for an a Western but at the same time the epic feel of it makes it unique for its kind.

The film is the directorial debut for Nancy Kelly whose direction is very soulful. She didn’t get the support since then to make more films unfortunately and “Thousand Pieces of Gold” is still very underseen which is a shame because it brings such a fresh spin on the Old West. Thanks to Kelly’s background in documentary films, the movie has a unique kind of realism to the entire story. The location use of Montana is splendid here, and the story is very humane and captivating. Though at the center of it all it’s Rosalind Chao’s fantastic performance. She’s the unusual hero of our story and her performance captures everything in probably a career-best work.

Westerns is one of the oldest genres in cinematic history, yet some people forget how versatile it can be. From classical westerns like The Searchers and Red River, to Spaghetti westerns like Django and They Call Me Trinity, to even “anti-westerns” such as McCabe & Mrs. Miller and Little Big Man.

Much like its subgenres, westerns can also be quite flexible on which viewing experience you want. Many have the bloody shootouts and music fuelled showdowns you crave. Some have deeper meanings and rely on breath-taking performances. This list explores 10 great classics westerns that everybody should see, yet maybe have been over looked in the past.

1. Sacred Ground (Charles B. Pierce, 1983)

In 1861 Oregon, a mountain man and his Native American wife come across a half-built cabin and decided to make it their home. With some work, they finish the cabin, without realizing that it sits on a scared Paiute burial ground. After a burial party violently collides with the couple, the wife is left wounded whilst in the middle of childbirth. The mountain man decided to take action by stealing a Paiute woman (who had recently lost a baby) to help him with his new born baby.

Written and directed by Charles B. Pierce, the film battles with cultural heritage, land rights and the argument of modernization versus traditional values. Charles B. Pierce shoots the film beautifully, using the vast Oregon landscape as his film set. At times, the film has such spectacular shots, that one can easily put it up with any of John Ford’s spectacular frames. The film holds many familiar faces within its casting, such as Tim Mclntire and L.Q Jones. The film definitely leaves you with a lot to think about in terms of how westerns have changed and the different routes the genre has gone through, but the original Native American revenge type storyline is what keeps the film memorable.

2. Rustler’s Rhapsody (Hugh Wilson, 1985)

Tom Berenger stars as the fast drawing, guitar playing, singing cowboy hero, Rex O’Herlihan. His character is quite obviously and deliberately based on the Hopalong Cassidy cowboy character and many of Roy Rodger’s too. Rex is a character who has lived and starred in many serial matinee films, he just doesn’t know it…Yet. When he begins to learn that somehow, he always wins every gun fight, he saves every town he rides into, and always rides off into the sunset with victory, he begins to understand somethings up.

The film is written and directed by Hugh Wilson. After the success of Police Academy, Wilson was given the green light to make whatever he wanted, and a heavily meta, slightly spoof of 40’s westerns was exactly what he wanted. The film also has a stellar supporting cast with Andy Griffith as the corrupt Colonel, G. W. Bailey as his drunk sidekick, Sela Ward as the Colonel’s daughter and Marilu Henner as the saloon girl. The film is very much a comedy, with similar humour reminiscent of Police Academy, but its parody elements are where the film excels. The film doesn’t just parody westerns for laughs, it understands them so much to the point that it uses the parody to move the story forward. The film loves and respects westerns, from the serial matiness of the 40’s, to Spaghetti Westerns.

3. Man of the West (Anthony Mann, 1958)

Gary Cooper stars as Link Jones, a former outlaw who finds himself abroad a train that gets assaulted by his old gang. In order to protect civilian’s lives he agrees to go along with the criminals for one last job. The film is written by Will C. Brown and Reginald Rose, being directed by legendary director, Anthony Mann.

Man of the West delivers one of Gary Cooper’s greatest westerns performances. Cooper charms us throughout the film, as well as humouring us with his comedic skills, yet we’re also dragged into his dark side through his criminal backstory haunting him. The film received great reviews in France, especially by a young (at the time) critic, named Jean Luc Goddard. The film has a stellar supporting cast including Lee J. Cobb, Julie London and Arthur O’Connell. The film is surprisingly sad and violent. Mann focuses on each death and its murderer as Cooper’s inner demons torture him throughout the film.

Man of the West isn’t the greatest western ever made, nor is it Mann’s best. Some may consider Mann’s Winchester ’73, or Cimarron higher in their “Mann Western” list, but Man of the West is definitely one that lingers in your mind after viewing it. Whether it be the extraordinary wide shots of the west, or Cooper and Cobb’s performances, it’s definitely a western to remember.

4. Ulzana’s Raid (Robert Aldrich, 1972)

Upon receiving news that the Apache warrior Ulzana (Joaquín Martínez) has gathered a group for war and departed the reservation, the American army assigns veteran tracker Mclntosh (Burt Lancaster) and Apache Ke-Ni-Tay (Jorge Luke) to guide a young, naive and biased lieutenant (Bruce Davidson) and his men in pursuit to find Ulzana. Challenged by the foreign terrain, the cavalry faces a difficulty from stopping the angered Apaches from causing havoc in thoughtless acts of violence, reflecting years of mistreatment and agony.

Written by Alan Sharp, the film has a strong exciting set up that doesn’t disappoint throughout. With the help of the likes of Quentin Tarantino and Gene Siskel, the film has now been regarded as one of the best and underrated westerns. The film has an anarchic and lawless view which is obvious in almost every frame and facial expression by the characters. Lancaster’s character is worn out, he’s jaded, tired and Lancaster excels in projecting this throughout.

The film’s subtle (or not so subtle) subtext of America’s involvement in the Vietnam war gets clearer as the film moves on. As the men in the film head out to find Ulzana, one can’t help but think of the American soldiers treading through Vietnam fighting the Viet Cong. Like most of his films, Ulzana’s Raid promises great performances by equally great actors, thrilling scenes and leaves you with something to think about.

5. The Tin Star (Anthony Mann, 1957)

Henry Fonda stars in yet another great Anthony Mann western, as the tough gunslinger, Morgan Hickman. Morgan is a tough, yet responsible gunslinger, but even that is put on the line when he wanders into a small town where the local lawman has been murdered. That’s where he finds the temporary Sherriff, Ben Owens (Anthony Perkins) who seems to be struggling in the role. Morgan decides to toughen Ben up and teach him his exceptional gun skills in hoping to make him an effective Sherriff the town can respect.

The real jewel of the film is the relationship between the Henry Fonda and Anthony Perkins. The contrast between the two characters: Fonda being a strong yet weary gunslinger and Perkins a fresh minded yet naïve young man, is perfect. The film was written by Barney Slater, Joel Kane and Dudley Nichols, and quite surprisingly (at the time) received an Oscar nomination for its screenplay. The film is also exceptionally shot by the great cinematographer Loyal Griggs who shot certain magnificent looking classics such as White Christmas, The Ten Commandments, The Greatest Story Ever Told and In Harm’s Way.