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For those distinctive dinosaurs amongst us who recall reveling in that sadly extinguished era of the late ‘50s and early-to-mid ‘60s when Westerns ruled the teevee roost, it’s probably impossible for those hatched afterward to truly appreciate just how rich the frontier pickings were in that now far-off titled time.
From Warner Brothers’ revolving repertory (CHEYENNE, MAVERICK, SUGARFOOT, BRONCO, LAWMAN) up to WANTED: DEAD OR ALIVE plus HAVE GUN, WILL TRAVEL yet also including BAT MASTERSON and WYATT EARP.
Sacrilege it might be to say it, try as we might, we could never quite buy into GUNSMOKE (a tad too dry for our evolving tastes) or, particularly, BONANZA (which was wayyyyyyy too patriarchal).
But we did - and still do - adore (1965-69)
Aside from it being sumptuously produced and extremely well-directed over the course of its entirely-too-short four-year run (with Virgil W. Vogel helming the majority), the series also boasted an exceptionally fine stable of impressive writers who purposefully penned an attractive array of meaningful morality tales couched inside an incisive intelligence and wry humor rarely encountered then or now.
Actually, it was that recognizable sense of a real family atmosphere one could effortlessly empathize with that lent VALLEY so much of its anchoring authenticity.
Granted, they endlessly argued and fought and yelled and got on, under, over, around and through each other’s last nerves, defiantly disagreed, made up and then promptly got in one another’s equally hot-blooded face yet, when it all came conclusively down (and up) to it, they finally came together as a collective unit if not originally bound by blood then ultimately by their commitment of character.
You never doubted for a solitary sanitary second The Barkleys (tough name, that) and their gritty spunk of triumphant spirit, whether twas from Victoria’s noble strength, Jarrod’s balanced fairness, Nick’s no-nonsense ruggedness, Health’s quest for personal validation and Audra’s charming growing pains.
And - o my, hang about, hang about - that consummate cast!
Just try to imagine corralling any ensemble that’s a close cousin to its cumulative charisma and all-around acting aces, starting with the utterly unmatchable Barbara Stanwyck. Ala Katharine Hepburn, Stanwyck remains in a rarified class of her own and, as the show’s pivotal sparkplug, she was the commanding center around which everything else royally revolved. Next in luminous line is Richard Long (one of our all-time favourites); as to that, he was the only one who could impressively meet, match, balance, blend and equal Stanwyck’s formidably subtle power.
Peter Breck remains marvellous as hot-headed, fast-with-his-fists Nick (plus those black leather outfits were incredibly cool to us impressionable youngsters). This was Lee Majors’ breakthrough role, and he hasn’t done anything since that even comes close to capturing the thoughtful sensitivity and intelligent integrity he invested Heath with. As for lovely, drop-dead-and-resurrected alive gorgeous Linda Evans, we ASK you, has there ever been a more beautiful, breathtaking vision of young womanhood on the passionately emotional, hormonally hot threshold of – everything?
Toss is an absolutely astonishing galaxy of on-the-cusp- guest stars (Charles Bronson, James Whitmore, Colleen Dewhurst, William Shatner, Jill St. John, George Kennedy, Katharine Ross, Bruce Dern, Susan Strasberg, James Gregory, among many others) and George Duning’s still-thrilling main title (ever muscular and memorably robust) – eventually aided and tunefully abetted by Lalo Schifrin and, especially, Elmer Bernstein – makes it crystal clear the series has lost none of its individualistic luster.
[ Mind you, Season Two has just been issued on DVD but 20th Century Fox oughta be tar-and-feathered for its highway robbery price tag compared to the more affordably accessible Season One. ]
Be that as it is, THE BIG VALLEY remains a timeless classic even forty-some years after its auspicious unveiling: Boy howdy! ...
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Be that as it is, THE BIG VALLEY remains a timeless classic even forty-some years after its auspicious unveiling: Boy howdy! ...
I finally ordered TBV season 1 at Amazon for $19.
I used to watch it 30 years ago but I didn't remember it.
I wish they could release "Gunsmoke" as a season DVD set!
I have to wait 6 years to watch the seventh season of "Rawhide". A long time.
I still hope MGM/UA will release "Stoney Burke": my favourite cowboy series.
Stay with us, Stoney Boney!
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El Zoob, the "better one" is Duning's dynamic original, whereas the first one you cited is Elmer Bernstein's stirring (IO-ever-UnHO) reorchestration for Season 3.
Oh, and beating around the burning bush doesn't become you, Thor mi amigo.
Ka-mon, don't be bashful, now: how dew u really feel? ... 
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I watched every episode of Season One. I got it for $19.99 at Tower Records on sale (remember them?) and enjoyed every episode. I've been to Stockton and well, it was probably a lot prettier back in the times of The Barkley's. Sure the show was way melelodramatic, even with Victoria and Audra helping to add an unusual balance to the proceedings, but the episodes are enjoyable - at least to me. Yes, there was a fistfight in EVERY episode as well. And yes the Men's pants were usually WAY too tight. Especially Lee Majors and Peter Breck's. (Hey, I'm not complainging) Did anyone notice on an episode of season one when there was a big barfight and you can see Peter Breck's pants completely split up the middle showing his tighty whitey's underneath? Surprised the editor never cut it! And Lee Majors sweated through all his shirts almost down to the waist. In one episode, Majors is wearing a light colored leather vest atop a shirt, and the LEATHER was soaked down to the waist...just an observation....
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A.I. (Albert Issac) Bezzerides, one of the co-creators of the show, died recently at the age of 98.
According to Ronald Bergan of The Guardian, Bezzerides' [ parentage came from an Armenian mother and Greek father, he put himself through college driving trucks (ala his pere), he had substantial friendships with the likes of William Faulkner, William Saroyan, Humphrey Bogart and Robert Mitchum whilst, from 1942 through 1959, also being one of Hollywood's top screenwriters.
Although he scripted war movies as well as westerns, his substantial claim to filmic fame were his scripts for a trio of classic film noirs: Jules Dassin's Thieves' Highway (1949), Nicholas Ray's On Dangerous Ground (1952) and Robert Aldrich's Kiss Me Deadly (1955).
... In the 1960s, he turned very successfully to television, creating the Barbara Stanwyck series The Big Valley, though he complained that its ethnic richness was diminished by the producers. ]
As Jarrod would say, "Whatever that's supposed to mean." 
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I finally watched the entire season 1 and I am amazed that it still is an engrossing series to follow. The leading characters as well as the guest characters are very interesting. The list of guest actors is quite impressive.
For the people who are sensitive to unsettling film-making, I advise you to watch: "The River Monarch" directed by the late Sutton Roley.
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Watch out! The season 2 set is not restored.
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Stef, Eric: presumably by now you've waded through Season Two. Is the visual quality so abysmal it totally sabotages one's overall enjoyment or should we break down and overlook it all?
Inquiring Barkleys wanna know ...
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but ...
Sis, have you been introduced to Thor? 
