A rancher's widow regrets having spent her life away from the bright lights of a city, and is desperate that her son not share her fate.A rancher's widow regrets having spent her life away from the bright lights of a city, and is desperate that her son not share her fate.A rancher's widow regrets having spent her life away from the bright lights of a city, and is desperate that her son not share her fate.
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Sailor Vincent
- Client
- (as Sailor Billy Vincent)
Jimmie Booth
- Townsman
- (uncredited)
Danny Borzage
- Piano Player
- (uncredited)
Tex Lambert
- Townsman
- (uncredited)
Harry Mayo
- Townsman
- (uncredited)
Fred McDougall
- Bartender
- (uncredited)
Jimmy Noel
- Townsman
- (uncredited)
Chick Sheridan
- Townsman
- (uncredited)
- Director
- Writers
- John Dunkel
- Norman MacDonnell(uncredited)
- John Meston(uncredited)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
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Featured review
Another GREAT Season 8 episode--and not a Thug in sight.
I think the other commentators here are confusing a laid-back, stalwart performance with bad acting--and Rees Vaughan as Jeff held my attention from beginning to end; he may be low-key, but he has poise and a solid presence when needed. His acting skills may not have worked well in other roles, but his diffident, "Mama's Boy" complex with which he struggles works VERY WELL for this show, and provides great contrast and chemistry with actress Bennye Gatteys, who is wonderful as Millie. She's just perfect.
They are both TOTALLY believable, thanks to a terrific script by John Dunkel and the expert guidance of director Harris. I hung on every word because I CARED ABOUT these very real, honest characters. And I was relieved there were no bad-guy, creepy thugs drifting into town in this one...just an compelling story about true-to-life people in a real-life dilemma.
Many of the greatest works of literature and theater focus on the problems and relationships within families, and except for a very brief saloon dust-up and Jeff's ill-advised business with the shotgun, this show is entirely--and convincingly-- focused on the personal issues between the 3 main guest stars (with Matt and Doc, of course).
Actress Angela Clarke expertly navigates her role-- a very touchy one that could have easily lapsed into over-the-top melodrama....but she keeps it real. The end of the show is a bit vague-- which is fine with me. But I was rootin' for the young couple all the way through.
Lots of the usual subtle interplay between Matt and Doc, too. And NO NEED for any "comic relief"-filler scenes between Matt and Chester, Chester and Doc, Doc and Matt, as usual, This script doesn't need it.
Another asset is a fine score by Nathan Scott, who very successfully captures the restrained, intimate nature of this story. There have been VERY FEW original scores lately in Season 8, and this one contains a lovely theme that represents the young lovers--- particularly effective around the 11:30' mark, and shortly after, as Jeff leaves the shop after his scene with Millie. About 20 years ago, I called Nathan Scott out of the blue to complement him on his choral arrangements for Walter Schumann in the '50's; he was thrilled to know that anyone cared enough to call him about his work from many decades before. I wish I had been aware of this particular score then, as I would have praised it as well.
CHECK OUT "THE FAR PLACES" for yourself. It's GOOD. LR
They are both TOTALLY believable, thanks to a terrific script by John Dunkel and the expert guidance of director Harris. I hung on every word because I CARED ABOUT these very real, honest characters. And I was relieved there were no bad-guy, creepy thugs drifting into town in this one...just an compelling story about true-to-life people in a real-life dilemma.
Many of the greatest works of literature and theater focus on the problems and relationships within families, and except for a very brief saloon dust-up and Jeff's ill-advised business with the shotgun, this show is entirely--and convincingly-- focused on the personal issues between the 3 main guest stars (with Matt and Doc, of course).
Actress Angela Clarke expertly navigates her role-- a very touchy one that could have easily lapsed into over-the-top melodrama....but she keeps it real. The end of the show is a bit vague-- which is fine with me. But I was rootin' for the young couple all the way through.
Lots of the usual subtle interplay between Matt and Doc, too. And NO NEED for any "comic relief"-filler scenes between Matt and Chester, Chester and Doc, Doc and Matt, as usual, This script doesn't need it.
Another asset is a fine score by Nathan Scott, who very successfully captures the restrained, intimate nature of this story. There have been VERY FEW original scores lately in Season 8, and this one contains a lovely theme that represents the young lovers--- particularly effective around the 11:30' mark, and shortly after, as Jeff leaves the shop after his scene with Millie. About 20 years ago, I called Nathan Scott out of the blue to complement him on his choral arrangements for Walter Schumann in the '50's; he was thrilled to know that anyone cared enough to call him about his work from many decades before. I wish I had been aware of this particular score then, as I would have praised it as well.
CHECK OUT "THE FAR PLACES" for yourself. It's GOOD. LR
helpful•131
- lrrap
- Feb 22, 2021
Details
- Release date
- Country of origin
- Language
- Filming locations
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- See more company credits at IMDbPro
- Runtime1 hour
- Color
- Aspect ratio
- 1.33 : 1
- 4:3
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