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A parson turns outlaw when his wife runs off with another man.

Julian Shay (Willie Nelson) is a Philadelphia preacher who moves his new bride, Raysha (Morgan Fairchild), to the wilds of Montana where he plans to take over a ministry. Raysha, who is against the move, is really in love with another man. Their new town, though, is suffering under the thumb of an evil rancher (Royal Dano) who has controlled the local water supply since the town well dried up. When Shay's wife leaves him, his mind snaps and he straps on a gun. RED HEADED STRANGER boasts outstanding production values, nice cinematography, and a good cast. Unfortunately, the film is poorly scripted, haphazardly directed, and badly paced.

Red Headed Stranger

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Willie Nelson (Rev. Julian Shay) Morgan Fairchild (Raysha Shay) R.G. Armstrong (Sheriff Reese Scoby - Driscoll, Montana) Royal Dano (Larn Claver) Katharine Ross (Laurie) Sonny Carl Davis (Odie Claver) Ted J. Crum (Cauley Felps) Marinell Madden (Cindy Logan) Bryan Fowler (Nathan - Laurie's Son) Paul English (Avery Claver)

William D. Wittliff

Revisionist western about fallen preacher Shay, who guns down his wife Raysha for running off with another man. Wandering, he meets single mom Laurie. However, helpless sheriff Scoby wants Shay to help him fight the villainous Clavers.

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Red headed stranger.

1986 Directed by William D. Wittliff

Reverend Julian Shay (Willie Nelson) strode into the saloon, pulled out his six-shooter, and killed his adulterous wife (Morgan Fairchild) and the man she had left him for. It was the beginning of his violent transformation from God-Loving preacher to ruthless outlaw.

Willie Nelson Morgan Fairchild R. G. Armstrong Royal Dano Katharine Ross Sonny Carl Davis Ted J. Crum Marinell Madden Bryan Fowler Paul English Bee Spears Dennis Hill Mark Jenkins Berkley Garrett Elberta Hunter Mark Voges John Dodson John Browning Julius Tennon

Director Director

William D. Wittliff

Producers Producers

Willie Nelson William D. Wittliff

Writer Writer

Editors editors.

Stephen Purvis Eric A. Williams

Cinematography Cinematography

Production design production design, composers composers.

Willie Nelson Bucky Meadows

RHS Studio Productions

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31 oct 1986, releases by country.

105 mins More at IMDb TMDb Report this page

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Review by Geoffrey Broomer ★★★½

Willie Nelson's double platinum 1975 concept album - about a preacher on the run from the law for gunning down his wife - was turned into a screenplay by William D. Wittliff. After languishing in production hell at Universal (who wanted Robert Redford to star), and later HBO, the duo produced Red Headed Stranger independently with Wittliff directing.

Nelson stars, with Moran Fairchild as his ill-fated spouse. The expanded narrative sees Nelson installed as the preacher of a town without water - whose efforts to restore a well put him at odds with a stream monopolizing trapper (Royal Dano). The Preacher's only ally is the sheriff (R. G. Armstrong), whose complicated friendship is the heart of the picture. During this…

Review by nadine smith 3

this movie was co-produced by wrangler jeans (not kidding)

Review by Mason ★★★★ 5

Maybe the best of indie 80s westerns. *Are* there other indie 80s westerns? Apparently originally meant for HBO, starring Redford and directed by Peckinpah it all fell through and Willie (who'd always intended to play the part himself) and the screenwriter (who decided to direct) raised the money themselves. Shot on Willie's property in hill country, the immersion and authenticity is stellar. Fairchild is the weak spot but sometimes you need a name to get investors.

A dark and bloody tale of old grudges and hard headed men with nothing to lose. Willie is stellar, maybe his best performance.

Doesn't appear to be available on disc or streaming in the US. I found an ok quality HD online and I…

Review by Nick Tacony ★★★★

Easily the greatest movie ever produced by Wrangler Jeans

Review by rosey

“did you mean to kill her?” “I did at the time.”

I was expecting a revenge-porn flick, but so little time was spent on the revenge, and so much more was focused on who he was before and the outworkings of what he did in a moment of rage.... kinda liked that approach, to be honest. it surprised me, much more of a thoughtful approach than I expected.

I appreciate that it was trying to say something and actually had some decent scenery and music. the acting was a little sub-par for the supporting cast, and maybe I would have liked it more if I could take willie nelson seriously.

anyway. not too shabby.

(it felt kind of like the result of an oyan ipod challenge, with the music element involved. if you know what i’m talking about, you know. 🙏)

Review by Chamcken ★★★

*watches scene with my own eyes*

*Willy Nelson sings about what I just saw just to make sure I didn’t miss anything*

Review by ZaneSimon ★★★½ 2

A surprisingly decent, if slightly wandering western starring Willie Nelson, who does a shockingly alright job carrying the part of preacher turned outlaw turned family man.

The actual narrative transitions are a bit on the hurried side and it’s a little too much plot for the movie’s 105 min run time, but it’s well acted and has a great score, with Nelson doing all the music himself.

Costuming’s not bad too, but the hair and makeup on the women is off by about 100 years. Really looks like they teleported swimsuit models back to the old west.

Not so special that I’d run back to it or recommend it quickly, but if you love westerns this is a totally solid one.

Review by Wirthit ★★★★ 5

Finishing up whats worth seeing on Peacock before I cancel. Decided upon a Willie Nelson western night, so I checked out both Barbarosa and Red Headed Stranger. I know NOTHING about Willie Nelson, never even heard a song by him. But I heard both movies were worth seeing. I'm including my reviews for both here, since Red Headed Stranger was the more interesting film.

Barbarosa is a weird little western, enjoyable, but, well, anything starring Gary Busey and Willie Nelson is bound to be a little strange. It's pretty well directed, and both Willie and Gary give good performances. The fact that the film is about each of their tortured family dynamics is the most unique part of the picture…

Review by Isaiah ★★★½

Willie Nelson plays a badass renegade preacher. Better than I anticipated

Review by Jay D 's Watching ★★½

This review may contain spoilers. I can handle the truth.

Three things about Red Headed Stranger, no particular order.

1. Honestly, makes a nice stiff drink for anyone who's sort of wrapped up in cheerful elderly mellow old Uncle Willie imagery these days - based on the concept album of the same name, I'm not sure who the shovel-faced guy on the poster is supposed to be, but the film features Willie as a rather stoic, grim preacher-turned-murderer-turned-gunfighting-farmer-because-a-man-has-to-find-some-peace, damnit. He's not a terrific actor, but he's good enough, and he has some genuine interesting presence (the strongest scene comes probably at the midway point, just after he

kills his wife and the man he ran off with)

2. The actual bad guys here, a family clan seemingly based on…

Review by It’s Me ★

Willie Nelson looks like absolute shit here, a real trash bag.

Review by Puneet ★★★½

lame brain compliment but some great shots and blocking in this one

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Red-Headed Stranger

Film details, brief synopsis, cast & crew, william d wittliff, morgan fairchild, katharine ross, r. g. armstrong, willie nelson, technical specs.

Reverend Shay and his wife travel from the East to Montana so that he can do his good work there. However, when his wife leaves him for another man, the preacher uses his pistol in revenge. After this, he tries to regain his footing on the path to righteousness.

Miscellaneous Notes

Released in United States Fall October 31, 1986

Released in United States on Video September 1987

Released in United States September 1, 1987

Shown at Denver International Film Festival October 18, 1986.

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Red Headed Stranger (1986)

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Red Headed Stranger

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By Rebecca Bengal

November 19, 2017

Red Headed Stranger, Willie Nelson ’s 18th studio album, arrived in the world on May Day, 1975, to little fanfare. It would prove to be an ominous year. Two of Nelson’s fellow Texans and country music heroes, Bob Wills and Lefty Frizzell, would die. At the Country Music Awards, Charlie Rich would set fire to the slip of paper that announced John Denver as Entertainer of the Year. Denver topped mainstream country charts with his friendly ditty “Thank God I’m a Country Boy,” which traded places with the lush, bright, radio-friendly productions of Glen Campbell ’s “Rhinestone Cowboy,” and Linda Ronstadt ’s “When Will I Be Loved.”

It was the year of Tonight’s the Night , Blood on the Tracks , Physical Graffiti , Metal Machine Music , Zuma , Horses , and Born to Run . And it was the year that Willie Nelson finally signed a record deal that allowed him “quote artistic control endquote” as he described it to Rolling Stone. In the span of about a week, summoning a core stable of musicians to a little studio in Garland, Texas, and for just $4,000, Nelson made an album that defied logic, transcended the industry-defined borders separating country from rock’n’roll, jazz, blues, and folk—and it became an artistic and commercial success. Red Headed Stranger remained on the Billboard charts for 120 weeks. It was as if he’d written himself a permission slip for the next four decades of his career. On first listen, one studio head wondered aloud whether it had been recorded in Nelson’s kitchen. It sounds like just Willie and his guitar, another remarked. Waylon Jennings, who was present for the initial listening session, leapt to his feet. “That’s what Willie is all about!” he reportedly hollered.

Nelson’s first four decades had been hard-earned. He was on his third marriage, father of four kids. He had washed dishes and sold encyclopedias door to door until he decided that it went against his beliefs to push them on people who couldn’t afford them and took a job peddling vacuum cleaners instead. He had done his share of time in a trailer park and he had seen his own house burn down. He had played honky-tonks across from Texas to Washington, and he’d worked as a radio disc jockey with the handle “Wee Willie Nelson.” One particularly despondent night, early in his Nashville days, Nelson walked outside Tootsie’s Orchid Lounge—the famous songwriter haunt where he warmed barstools alongside Kris Kristofferson , Hank Cochran, and Roger Miller . Nelson laid down on a snow-covered street and waited for a car to run him over.

The story is one Nelson tells frequently of his Nashville days. For more than 10 years, he made a name for himself recording well-received albums that failed to get the same acclaim as the No. 1 hits he wrote for others; he resisted record company producers and their suggestions of “different styles” while at the same time demanded better marketing for his records. Was it worth it working for nothing to fit someone else’s mold?

It’s those dark minutes, lying in the snow listening and half hoping for traffic, that were on his mind when he scribbled the first few lines of 1973’s Shotgun Willie , his first true outlaw country anthem, on the back of a “sanitary napkin” envelope in a hotel bathroom. “Mind farts,” his good friend Kristofferson bluntly offered. Nelson remained unvexed. “I thought of it more as clearing my throat,” Nelson said. That album contained what remain some of the most beloved songs in the canon of Willie—“Whiskey River,” “Slow Down Old World,” “Sad Songs and Waltzes”—and it set the stage for an album that would challenge an industry’s prejudicial notions, one that would earn Nelson overwhelming and long overdue respect not as a country artist but as an artist, period.

The song ”Red Headed Stranger,” written in the 1950s by Edith Lindeman Calisch and Carl Stutz, is the dark tale of a bereft cowboy, “wild in his sorrow, riding and hiding his pain,” who goes into a grief-stricken rage. It was a song Nelson used to play as a disk jockey on Fort Worth radio and it stayed in his head long after. In the spirit of fieldworker blues, gospel, country, and traditional Mexican songs that reverberated through the rows of Texas cotton Nelson picked as a child, it follows an ancient plot. It’s a murder ballad, a noir tune of damaged characters and fateful, human errors. When his own children were small, Nelson sang it to them as a lullaby.

On a long drive from Steamboat Springs, Colo. to Texas, the song got in his head again. As he sat behind the wheel, Nelson envisioned the Stranger’s song as part of a larger story, mapping out the narrative in chapters. In his telling, the Stranger of the song becomes a Preacher who discovers his wife in the arms of another man and kills them both (“And they died with their smiles on their faces”). Doomed to wander the countryside alone on his horse, he seeks a redemption that may never be realized. Nelson worked his old ballads into a roster of country standards that, he reckoned, would naturally inhabit the Preacher’s mind. Eddy Arnold’s “I Couldn’t Believe It Was True,” a brief, jaunty number, stands in for the moment when the Preacher discovers that his wife has forsaken him. In the next iteration of the recurring theme, “Time of the Preacher,” the recognition of loss sinks in: “And he cried like a baby/And he screamed like a panther.”

Deliberately spare arrangements echoed the Stranger’s existential loneliness. Relying mostly on guitar, piano, and drums, Nelson summoned a small crew of musicians in the studio—his sister, Bobbie Nelson, longtime drummer Paul English, Bucky Meadows, Mickey Raphael, Jody Payne. Little else was needed to evoke the sound of the Preacher’s violent ride, the relentless, loping, strumming gait: “Don’t fight him don’t spite him/Let’s wait till tomorrow/Maybe he’ll ride on again.” The horse in the studio was, of course, Trigger, the Martin guitar Nelson had customized in Nashville a few years earlier, Frankensteined with a pickup from his old Baldwin guitar and named after Roy Rogers’ television horse. Nelson heard Trigger “as a human sound, a sound close to my own voice.”

Musically, Nelson has always subverted plain, pure song with utter, starlit mystery. He had an uncanny ability to bend the listener’s perception of time. “I could put more emotion in my lyric if I phrased it in a more conversational, relaxed way,” he wrote in 1988. His vocal phrasings snake around the surfaces, altering its inflections, anticipating a beat or falling just behind it; his guitar appears to stretch and shorten the meter without ever breaking it.

As a single punched into a dusty jukebox, Fred Rose’s “Blue Eyes Crying in the Rain” is a beautifully realized if painful love song, the harmonies on the line “Only memories remain” landing with a little sting. Threaded into the Preacher’s story, it becomes the heart of the album. Like Nelson and Trigger lingering on certain phrasings, parsing missed chances and regrets, the Preacher and his black stallion haunt the canyons, retracing steps. He’s mindful that the love he lost is a place to which he can never return, but he can’t stop himself from trying to get back there.

Country music had always been one of the truest genres, gritty and realistic songs of broken hearts, the farm, the factory, the bottle. But until Red Headed Stranger, music critic Chet Flippo wrote in Texas Monthly, the genre had offered scant escapism and “almost no fantasy.” Nelson, for the first time, allowed country music to dream big and beautiful. Nelson converses with the genre’s roots but sends them into uncharted and previously forbidden territory, fusing his essential influences—the tragic brilliance of Hank Williams and the melodic expression of Django Reinhardt. His anti-heroic story has elements of Homeric myth, a moody, Sergio Leone sensibility, the devastating lyrical force of Cormac McCarthy, whose Border Trilogy Red Headed Stranger in many ways prefigures.

When he left Nashville for Austin in 1972, Nelson had gladly traded his jackets and ties for bandannas and jeans; he’d grown his own red hair long. And in casting himself as the title character of Red Headed Stranger , he had chosen for his story an essentially archaic thing, tough and worn and mythic; an incessant wanderer and broken spirit, at war with himself. The artist lying on the street in the snow.

You can have an appreciative listening of Red Headed Stranger as a clear, uncomplicated tale about manhood and morality and infidelity, about the characteristic lonesomeness of the cowboy drifter, about some bygone notion of Americana, as listeners and critics did in 1975, layering on desperado descriptions. It is possible in 2017, when interpretations still overwhelmingly shrink to the literal-minded, to return there too.

And yet that would be missing out on so much. Sure, by 1975, Nelson had weathered and been implicated in his own share of stormy relationships, allegedly standing on both sides of infidelity. But to dwell on a reading of Red Headed Stranger primarily as a tale of manhood and waywardness or as one entrenched in bygone notions of America feels dated, particularly if you are anywhere on the margins of that story. Women, empathetic listeners by nature and necessity, learn to be very good at imagining ourselves into narratives framed around the literal experiences of boys and men. And in Red Headed Stranger , the story that resonates loudest is not the most obvious one but a universal one, about what it means, in dark and thrilling ways, to follow your instincts when you have everything at stake and nothing to lose.

With Red Headed Stranger, arguably the biggest artistic gamble of his career, Nelson framed it as an album about creativity and risk, about bad decisions and lonesome paths, about learning to listen to instincts, and, moreover, about distinguishing instinct from impulse. If Shotgun Willie was Nelson’s newfound manifesto, Red Headed Stranger forged into mythic weirdness acknowledging that this is a kind of wandering that can never end. Such is the nature of the itinerant solitude and perpetual dissatisfaction of the artist—the life that the restless and relentlessly prolific Nelson chose for himself—on the road again.

As the album draws to a close, after searching in Denver dance halls and in strangers’ arms, the Preacher claims to have found some version of solace and maybe even love, if we can take him at his word. His declaration is followed by one of the album’s wordless instrumentals, quiet and beckoning as a campfire, as Mickey Raphael’s harmonica reverberates and fades out. The memory of the lyrics of the previous song linger like smoke: “I looked to the stars, tried all of the bars/And I've nearly gone up in smoke/Now my hand’s on the wheel/I’ve something that’s real/And I feel like I’m going home,” the Preacher-Stranger had just sung in “Hands on the Wheel.” It’s not clear, though, whether he’ll ever truly arrive, or if he’d let himself stay long.

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37 Years Ago: Willie Nelson’s ‘Red Headed Stranger’ Film Premieres

Thirty-seven years ago today, on Feb. 19, 1987, Willie Nelson 's Red Headed Stranger film premiered in Austin, Texas. The movie, which also starred Morgan Fairchild and Katharine Ross, was based on Nelson's 1975 album of the same name.

In Red Headed Stranger , Nelson plays Rev. Julian Shay, who travels to Montana to preach, along with his wife, Raysha Shay (played by Fairchild). When his wife leaves him for another man, Julian Shay guns her down ... and then tries to find redemption for his actions.

William D. Wittliff wrote and directed Red Headed Stranger ; he also co-produced the project with Nelson. (The two men had previously worked together on the films Honeysuckle Rose and Barbarosa , both also starring Nelson.) Wittliff's first draft of the movie was finished almost 10 years earlier, and Universal Studios expressed interest in the film -- but they wanted seasoned actor Robert Redford to play Nelson's character instead. When Redford turned the role down, Nelson and Wittliff returned their advances to regain the rights to make the film their way.

HBO also expressed interest in the movie, but when Red Headed Stranger 's original director, Sam Peckinpah ( Pat Garrett and Billy the Kid and The Wild Bunch ), left the project due to budget constraints, Nelson and Wittliff bankrolled the film themselves. Most of the production, which took two months, occurred on Nelson's Luck, Texas, ranch and in other areas in central Texas.

Nelson starred in another Western, a made-for-TV movie called Stagecoach , in 1986. The country icon appeared in that film alongside Kris Kristofferson , Johnny Cash , Waylon Jennings and David Allan Coe , among others.

See Photos from the Inaugural Palomino Festival, Featuring Willie Nelson, Kacey Musgraves + More

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Red-Headed Stranger

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