Film

4 for Texas

Name: 4 for Texas
Genre: Comedy, Western
Released: 1963
Cast: Frank Sinatra, Dean Martin, Anita Ekberg, Ursula Andress, Barbara Payton

Comedy western
Light-hearted

A 1963 comedy-western starring Frank Sinatra and Dean Martin as rival con men forced into uneasy alliance. It's silly, colorful, and stuffed with musical numbers alongside the plot—less interested in authentic gunfights than in giving two of the era's biggest stars room to charm, wink, and occasionally sing. For fans of old Hollywood's lighter side and the Rat Pack's particular brand of Vegas-inflected fun.

TMDb rating

2.6

If you liked this

Ocean's Eleven1960

The template Sinatra and Martin perfected: a heist plot that's almost an afterthought to the pleasure of watching charismatic men scheme and trade quips. Same ensemble energy, even lighter stakes.

But The actual heist barely registers as suspenseful; you're watching for the banter, and if you need real stakes or tight plotting, this won't deliver.

Rio Bravo1959

John Wayne Western with jazz-inflected humor and musical interludes—proof the genre could accommodate comedy without apology. Hawks' direction keeps both action and levity alive.

But Longer and less frantic than 4 for Texas; the comedy is drier and the gunfights matter more, so tonal whiplash is possible.

The Pink Panther1963

Released the same year: a comedy that knows plot is decoration. Peter Sellers' bumbling inspector carries the same spirit of charming chaos that Sinatra and Martin trade in.

But Sellers dominates; there's no chemistry between rivals trading scenes, just one comic genius doing his thing. Different rhythm entirely.

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Some Like It Hot1959

Both films center on male partnerships driving a comedy; both embed musical numbers as natural breaks rather than dramatic intrusions. Some Like It Hot is what 4 for Texas would be if every element aligned flawlessly.

Billy Wilder's masterpiece: a comedy where two men disguise themselves as women to escape the mob. Like 4 for Texas, it's about men in partnership, musical numbers, and the sheer pleasure of movie stars being funny together—but achieved with such perfect construction that it never wobbles.

But It's considered one of the greatest films ever made, which can make it feel precious and untouchable on first viewing. Also, the cross-dressing comedy, while affectionate, reflects '50s attitudes some find dated.

Guys and Dolls1955

Sinatra in musical-comedy mode, playing against type as a buttoned-up gambler. Marlon Brando and Vivian Blaine keep the energy high and the numbers frequent.

But It's a Damon Runyon adaptation with theatrical staging that can feel stiff. The musical numbers, which are the point, might feel like digressions if you're after story.

The Poseidon Adventure1972

Disaster film that doesn't take itself seriously, with an ensemble cast playing types rather than characters. The fun is in the spectacle and the camaraderie, not the plot.

But It's earnest about its disaster; the tone is grittier than 4 for Texas, and the melodrama works against the comedy.

Singin' in the Rain1952

Sinatra's contemporary Gene Kelly in the gold standard of Hollywood musicals: pure joy, technical mastery, and plot that exists to string together brilliant set pieces.

But It's a masterpiece, which means it's revered to the point of being untouchable. Watching it after a lighter fare like 4 for Texas can feel like being lectured.

The Sting1973

Con-man comedy with two leads playing rivals-turned-partners, ragtime score, and a plot that's ornament for the pleasure of watching smart people work together. Clear spiritual descendant.

But Made a decade later, it's slicker and more cynical; the warmth of Sinatra and Martin's rapport doesn't quite translate to Newman and Redford's cooler energy.

Breakfast at Tiffany's1961

Contemporary Hollywood glamour-comedy with a plot that serves as scaffolding for style and charm. Audrey Hepburn and George Peppard navigate romantic and criminal chaos with equal grace.

But The humor is gentler, almost sitcom-like; if you want bigger laughs or more physical comedy, this will feel slight.

Viva Zapata!1952

Marlon Brando in a Western that blends action, politics, and an odd-couple dynamic with Anthony Quinn. Elia Kazan directing: serious intent under adventure wrapping.

But It's genuinely interested in revolution and moral consequence; the tone is grave, and the comedy is ironic rather than buoyant. Entirely different register.

Texas Across the River1966

Dean Martin playing a version of the same charm-as-survival character, but in a Western that found a smarter tonal balance. A parallel path rather than a superior version.

Dean Martin as a Mexican immigrant in a Western comedy: similar era, similar mix of action and musical breaks, but sharper writing and a sharper edge. Martin solo, and the film doesn't treat him like a Vegas attraction.

But It's a B-picture that knows it; the production values are lower, and the racial comedy is complicated by modern eyes. Also less star-studded, so less of the sheer charisma carry.

The Good, the Bad and the Ugly1966

Both center on rival partnerships; both are Westerns that reject realism for style and personality. But where 4 for Texas is buoyant and surface, Leone goes mythic and melancholic—showing what the same setup becomes when you pull the story toward grace instead of gags.

Sergio Leone's operatic Western: three men (Clint Eastwood, Lee Van Cleef, Eli Wallach) in an uneasy alliance hunting treasure. Like 4 for Texas, it's rivals forced together, but Leone's vision is mythic, the score is Morricone's masterpiece, and the tone swings from comedy to genuine danger.

But It's a spaghetti Western with all the slow-burn, stare-down intensity that implies. If you want plot momentum and lighter touch, this is operatic to the point of self-parody—intentionally.