Hand-Picked Alternatives Movies That Echo the Spirit of Four Sons: ...

Dir: John Ford

Jode McWilliams, the foreman of Circle O, is in love with Peg, the daughter of Pa Owens, the owner of the ranch. The trouble is that daddy won't allow! Which does not stop Jode from wanting to marry Peg. He asks Stumpy, the cook, to help him write a love letter to the lady of his heart. The other cowhands find it and, with a view to making fun of Jode, nail it to the door. Two Horns, an Indian, steals it and ... delivers it to Peg. When Jode and his posse, pursuing the facetious redskin, arrive at the Owenses' house, Jode's boss has already found out. A showdown ensues and the young man, who has lost the fight, is made prisoner and held in a room. But he is rescued by his pal Chub and a helpful parson marry the two lovebirds. Away they ride from the reluctant father towards happiness.

Dir: John Ford

A visual fragment from the archive: The thematic resonance of A Marked Man perfectly mirrors the editorial trajectory of our deep dive.

A mother is convinced her son is a ranch owner when in fact he is an outlaw, and she just saves him from hanging.

Dir: John Ford

Cowboy Lin McLean's restlessness takes him to Denver, where he becomes enamored of a waitress named Katie.

Dir: John Ford

A visual fragment from the archive: The thematic resonance of A Woman's Fool perfectly mirrors the editorial trajectory of our deep dive.

Harry's bride is murdered at their wedding along with Harry's mother and father, and the good-hearted outlaw turns grimly malevolent.

Dir: John Ford

A grizzled hero is revisiting the town of his youthful exploits.

Dir: John Ford

A visual fragment from the archive: The thematic resonance of Riders of Vengeance perfectly mirrors the editorial trajectory of our deep dive.

A cowboy must save his girlfriend from captivity and then cross the desert on foot with a single waterhole on the way.

Dir: John Ford

An Arizona cattleman defeats the rustlers and the sheriff who is in league with them.

Dir: John Ford

A visual fragment from the archive: The thematic resonance of The Last Outlaw perfectly mirrors the editorial trajectory of our deep dive.

"Cheyenne Harry", owner of the biggest cattle ranch in his corner of the West, is having trouble with John Merritt, a land-grabbing Chicago meat-packer. By some artifice of shrewd legal aid, Merritt manages to seize Harry's ranch under a bogus writ of foreclosure. Failing to get justice by his many letters to Merritt, "Cheyenne Harry" goes East and calls at the millionaire's mansion. At first, Merritt refuses to see him. Then, to cause amusement for his daughter Helen and her guests, he invites the "uncouth" Westerner into his dining hall. He is sure that he will make some grave error in table deportment and afford them all a laugh. To the amazement of Merrit and the guests Harry's table manners are faultless. Then, to trick him into an embarrassing position, Merritt eats with his knife. Harry, realizing that it is proper for the guest to follow the example of the host, does likewise. He leaves the house chagrined but more determined than ever to get justice from Merritt.

Dir: John Ford

Cheyenne Harry and his pals, bent on helping their friend Rawhide Jack, attend a rodeo with the intent to win the prize and to hand the winnings over to Jack. Harry is the successful winner and after the rodeo the boys get drunk and fall asleep.

Dir: John Ford

Jim Kyneton, once a member of an outlaw gang, joins the Texas Rangers and is forced to track down his former friends and his half-brother Nick, who have been robbing a gold mine.