Wild West Saloon Quotes

It's a lot like the Wild West out here... just with tea shops instead of saloons. Wild West Sahara, that is.

I have come to the final judgment that I am not a man any longer. I am a figment, a concoction, an overblown invention born of low-grade whiskey and high-grade journalistic distortion; of street and saloon gossip and dime-novel bombast.

S-a-l-o-o-n,” said Benny, reading the sign over the door of the building. “What is a saloon?” “This saloon is a Western-style restaurant,” said Bart. “It has food, drinks, and entertainment. Come on in!

Bathtubs were rare in the Wild West. In 1871, Tucson, Arizona boasted 3,000 people, a newspaper, a brewery, two doctors, several saloons—but just one bathtub. Pee-ew!

With my own money, I bought a Bauer Super 8 camera, intent on putting my newly accumulated filmmaking knowledge to use. I would make a Peckinpah-style splatter pic with a few Old West nods to Leone and a killer title: Cards, Cads, Guns, Gore, and Death. The plot of this two-minute silent masterpiece-in-the-making was simple. Three cowboys are playing poker in a dusty saloon. One takes exception to the other’s winning hand and shoots the winner dead. Then the third guy shoots the shooter dead. A fourth guy, the sheriff, comes upon the scene and shoots the third guy from behind, killing him. Then he shakes his head in disgust, lamenting the waste of it all. The end. That was the easy part. The hard part was authentically portraying the carnage on a nonexistent budget. In my curiosity about filmmaking, I took to bending the ears of everyone with a specialized job on the sets I worked on. A special-effects guy gave me the intel on how they did gunshot wounds in Bonnie and Clyde and The Wild Bunch.

Sidney provides the commentary on the DVD, and he tells us that he wanted “a train song.” Warren and Mercer gave him much more than that, for “On the Atchison, Topeka and the Santa Fe” is really an “entire town song.” It starts in the saloon—an important location, as it will be at war with the restaurant the Harvey girls wait table in—then moves to the train’s passengers, engineers, and conductor as it pulls in and the locals look everyone over, especially the newly mustered Harveys themselves. Warren’s music has imitated the train’s chugging locomotion, but now comes a trio section not by Warren and Mercer (at “Hey there, did you ever see such pearly femininity … ”), and the girls give us some individual backstories—one claims to have been the Lillian Russell of a small town in Kansas, and principals Ray Bolger and Virginia O’Brien each get a solo, too. The number is not only thus detailed as a composition but gets the ultimate MGM treatment on a gigantic set with intricate interaction among the many soloists, choristers, and extras. But now it’s Garland’s turn to enter the number, disembark, and mix in with the crowd. According to Sidney, Garland executed everything perfectly on the first try—and it was all done in virtually a single shot. Fred Astaire would have insisted on rehearsing it for a week, but Garland was a natural. Once she understood the spirit of a number, the physics of it simply fell into place for her. In any other film of the era, the saloon would be the place where the music was made. And Angela Lansbury, queen of the plot’s rowdy element, does have a floor number, dressed in malevolent black and shocking pink topped by a matching Hippodrome hat. But every other number is a story number—“The Train Must Be Fed” (as the Harveys learn the art of waitressing); “It’s a Great Big World” for anxious Harveys Garland, O’Brien, and a dubbed Cyd Charisse; O’Brien’s comic lament, “The Wild, Wild West,” a forging song at Ray Bolger’s blacksmith shop; “Swing Your Partner Round and Round” at a social. Marjorie Main cues it up, telling one and all that this new dance is “all the rage way

While men like Garfield strolled the aisles of Machinery Hall in Philadelphia, marveling at the greatest inventions of the industrial age, George Armstrong Custer and his entire regiment were being slaughtered in Montana by the Northern Plains Indians they had tried to force back onto reservations. As fairgoers stared in amazement at Remington’s typewriter and Thomas Edison’s automatic telegraph system, Wild Bill Hickok was shot to death in a saloon in Deadwood, leaving outlaws like Jesse James and Billy the Kid to terrorize the West. As middle-class families waited patiently in line for their chance to marvel at the Statue of Liberty’s hand, freed slaves throughout the country still faced each day in fear and abject poverty.