• Year: 1969
• Released: 30 May 1970
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0067714/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_scavengers
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: R
• Genre: Drama, Western, War
• Runtime: 94 min
• Writer: Bob Cresse
• Director: Lee Frost
• Cast: John Bliss, Maria Lease, Michael Divoka
• Keywords:

	4.8/10
	false% – Audience

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The Scavengers Movie Reviews

Despite its low budget a very interesting film

This is not just another movie about the American Civil War, it’s a special one. True, it’s very low budget and that can sometimes irritate you. But if you cast away that minor irritations, there’s plenty to enjoy. The movie is about the period only months after the Civil War ended. A Southern captain never told his men that the war was over, so they go on with their killing and raping. They go to a place where the Yankees will pass with a gold transport and they wait for a chance to get the gold. They expect 300.000 dollars, but the actual amount is much less, somewhere around 2400 dollars. The captain tortures a soldier and rapes his future wife and her (black) servant till he will tell where the rest of the gold is. (Of course, it isn’t there. They only transported lots of gold during the War and the war is over now.)

The movie came out in the same year as The Wild Bunch and there are a few similarities. Like Peckinpah’s movie there are no real good guys and bad guys. The Southern soldiers don’t know the war is over. When you hear what happened to the captain, you’ll understand his hate for the Yankees and black people. You can’t really say the black servant is protected by her mistress and her soldier. The black people in a nearby town have some part in the story, but their intentions aren’t noble either. Which is true about most wars: it’s difficult to say who are the good guys.

Another similarity between The Scavengers and The Wild Bunch is that the slow motion technique is used in both movies. Though Sam Peckinpah gets most of the credit for this technique, it’s only fair to say that the slow motion scenes are better used in this movie. Especially in one of the rape scenes it’s very effective and quite nauseating.

Which is a nice link to my remark that there’s lot of nudity in the movie, maybe even a bit too much. With a little less naked breasts and a bit more money The Scavengers could have become a classic. Now it’s a very interesting cult movie.

If “The Scavengers” was a “spaghetti western” it would be one of the better ones ….

Despite a very low budget, and some marginal acting, “The Scavengers” intriguing script pushes the film into above average territory. There is a gritty feel throughout, brief nudity, at least a bunch of Negro degradation, several Civil War tunes, and a story you haven’t seen before. Keeping his renegade gang of Southern soldiers as uninformed as possible, Jonathan Bliss leads them on a mission to rob a Union payroll wagon. When the robbery takes place, only a fraction of the expected booty is found. Prisoners are tortured and women raped in a misguided attempt to gain information on the missing money. A slow motion shootout decides the outcome, and a very satisfying ending features real scavengers with beaks and wings. Interesting for sure. – MERK

So Very Close To Amazing

A few months after the Civil War, a megalomaniac Rebel captain pushes his remaining troops to keep up the fight…without telling them the war is over. He plans to hijack a Union wagon with 300K in gold. With the war over and the payroll decreased, however, the haul comes out to 3k. The captain steadfastly believes there must be more gold and pursues a campaign of rape and torture to find out where the rest of it is.

Belief and frustration dominate this movie. In many ways, it makes some truly profound statements about the tension between them. There is no more gold and will never be any more gold. And even though the Union captain explains it all logically and concisely to the Confederate captain, the Confederate captain simply refuses to believe it. It’s an existential stalemate brought vividly to life at the end of movie with the Confederate captain trapped under his horse and left to die.

John Bliss’ performance creeps you out. He carries the entire movie with grace and malice. So much so that it brings out how amateurish the other actors are. Even so, the low budget tends to work in favor of the film, bringing a grittiness that more money would have taken away from it.

Where the low budget didn’t work, though, is in the editing. At several points in the film, most noticeably in the rape of the maid, they copy/paste comments made just seconds earlier. It might be an interesting technique but it’s too clumsy to have not been sloppy.

My other main complaint is the “slave as cannibals” speech given by the captain. My eyes literally rolled into the back of my head. A simple, brutal massacre of his family would have been much more effective.

I really enjoyed this film, despite it’s glaring flaws. I’m not a big proponent of remakes, but I’d love to see this remade.

• Year: 2011
• Released: 13 Sep 2011
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt1555110/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_gundown
• Metacritics:
• Available in: 720p,
• Language: English
• MPA Rating: N/A
• Genre: Drama, Western
• Runtime: 97 min
• Writer: Dustin Rikert, William Shockley
• Director: Dustin Rikert
• Cast: Peter Coyote, Sheree J. Wilson, Andrew W. Walker
• Keywords:

	4.4/10
	25% – Critics
	false% – Audience

The Gundown Storyline

In 1889, a reclusive gun-for-hire, Cole Brandt, travels the barren Arizona desert bringing wanted fugitives to justice, dead or alive. He drifts from town to town, hunting down and seeking revenge on the men who killed his wife and child five years prior. When his travels take him to the lawless town of Dead River, he signs on to protect The Majestic Saloon, owned by Thomas Morgan and his wife, Sarah. Brandt soon meets a beautiful, innocent prostitute, Cassey May, who works at The Raven, the local brothel and hotel. Travis McCain, the owner of The Raven, is an outlaw who has taken control of Dead River, leaving the residents to live in fear of McCain and his rogue group of men. McCain soon learns about the relationship between Brandt and Cassey May, and threatens Cassey May with her life. Cassey May defies McCain, escaping The Raven, seeking protection with Sarah and Brandt at The Majestic Saloon. Brandt is then faced with the dangerous task of defending Sarah and Cassey May, with no choice but to face off with McCain and his killers. All hell breaks loose when McCain puts a bounty on Brandt’s head, as the stage is set for a bloody showdown. One man that dares to stand up to evil. One town that will be changed forever. One last stand in a fight for freedom. The day has come.—Anonymous

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The Gundown Movie Reviews

Beware, don’t waste your precious time in this crap picture!!!

What a crap movie, they bring Peter Coyote to acting 20 minutes or so in hope to hook the attention to the audience, bad move, the picture doesn’t uphold by itself, the premise is really insane , the Town is made by brand new woods, pine cheapest wood, the special effects on gunfire is outrageous laughable, we clearly see the blasters some sparkers, as it were possible, the villain Travis McCain is too malign that damage his own merchandise, in this case his prostitutes, provide under awful screenplay the picture survives just the charismatic Cole Brent in a convincing an reliable acting, anyway al rimainder is totally wasting of time, be warning!!

Resume:

First watch: 2019 / How many: 1 / Source: DVD / Rating: 4

Ok – but reduced by poor casting choices

This film was sort of doing ok with its scope & a decent story build. A good construction of tensions with good & bad character relations plus more individual character development was seen. (although a bit wooden in some cases).

Excellent camera work & lighting was clear from the very beginning & throughout. It is all going well until someone’s over filled lips spoiled the whole film image & retro look with an obvious 21st century silicone plastic lip surgery. Tragically this became obvious to all as a mis-cast person. This was not an inappropriate look for this film. This made her character appear comical rather than intimidating – the opposite of what was intended.

What the casting crew were thinking of is unfathomable. They degraded this film from ‘OK/Decent’ to ‘middling/poor’ by this miscasting choice when everything else was open to them.

Watchable if not Want-able

If not for the language this looks exactly like a network TV show. The indoor scenes are way over-lit and even the fade to black scene breaks are expectant of a commercial.

The good-guy is cool but a bit over polite and the bad guy is menacing although much of his evil deeds are either verbal or off screen. There is plenty of death by gun, but no squibs or suffering.

Stealing the show is the lovable whore who you can’t help but want to help. The supporting cast overall is unremarkable, flat, and uninspiring and most of the drama is delivered “by the book”.

The four years later ending is straight out of a weak movie of the week, but despite all this it is watchable if not want-able.

• Year: 1963
• Released: 06 Nov 1963
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0058165/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/gunfight_at_comanche_creek
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: Approved
• Genre: Western
• Runtime: 90 min
• Writer: Edward Bernds
• Director: Frank McDonald
• Cast: Audie Murphy, Ben Cooper, Colleen Miller
• Keywords: colorado, wanted dead or alive,

	6.1/10
	56% – Critics
	false% – Audience

Gunfight at Comanche Creek Storyline

Comanche Creek, Colorado, 1875: Prisoner Jack Mason is broken out of jail by a gang of strangers. They use him in a robbery, then when the dead-or-alive reward is high enough, they shoot him and collect. The National Detective Agency, now knowing the gang’s methods, arranges to have agent Bob Gifford jailed in Comanche Creek for train robbery. The gang takes the bait (not before Gifford catches the eye of lovely saloon-keeper Abbie). But how will the bait get off the hook?—Anonymous

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Gunfight at Comanche Creek Movie Reviews

“When you keep a rattlesnake around, you always pull his fangs.”

The setting is Comanche Creek, Colorado, 1875; a band of outlaws headed by Amos Troop (DeForest Kelley) breaks an unsuspecting jailbird out of the town lockup and kills the deputy. The gang then uses the outlaw as a front man for their other robberies. As the reward money on the bad guy escalates, the gang then shoots him and turns him in for the reward, all nice and legal like. Only trouble is, this time the victim was a member of the National Detective Agency gone undercover, and a close friend of Bob Gifford (Audie Murphy). Now the job of infiltrating the gang goes to “Gif”, who insinuates himself into Comanche Creek society as a free spending high roller, as the agency creates a back story and wanted poster for “Judd Tanner”.

The earlier Murphy Westerns usually cast him in the baby face role of a good guy; in 1959’s “No Name on the Bullet”, Murphy’s character John Gant was a hired assassin, and even then his youngish countenance didn’t seem to match his character. Here the older Murphy pulls off the outlaw gimmick a bit better, with wits quick enough to match the ever changing dynamics of his masquerade. When the cover is blown on the agency plant, Tanner maintains his cool, only revealing his identity to gang member Bill Carter, who’s anxious to leave the outlaw life behind.

With a lesser known supporting cast, the gunfight of the title eventually sets things right and settles the score against the bad guys, who have been masterminded by the sheriff of Comanche Creek, Marshal Shearer (John Hubbard).

DeForest Kelley is so closely identified with his Star Trek role as Dr. Leonard “Bones” McCoy, it’s easy to forget that he appeared in a fair share of Westerns, beginning with a 1949 Lone Ranger appearance. He also turned up in episodes of “Gunsmoke”, “Trackdown”, “Rawhide” and a host of others.

“Gunfight at Comanche Creek” winds up being a fairly intriguing Western, made so by the plot twists that keep Murphy’s character on his toes. I found the background narrative a bit annoying though, as the story played itself out well enough without the commentary (by uncredited narrator Reed Hadley). Otherwise it’s a generally worthwhile hour and a half of Audie Murphy entertainment.

Update – 7/22/2007 – Apparently, this movie was a remake of the 1957 film, “Last Of The Badmen”, with Audie Murphy reprising the role of George Montgomery. Both movies were released by Allied Artists, even though the writers credited for each film are different. Check it out!

Audie Murphy undercover

The events leading up to the Gunfight At Comanche Creek find Audie Murphy working as an undercover detective who has infiltrated an outlaw gang led by DeForest Kelley. The film has a plot not dissimilar to that of the great urban noir drama A Street With No Name.

Kelley has a unique recruiting method to supplement the hard core of his gang for jobs. He just breaks wanted criminals out of jail gets the use of their service and then kills them for the reward which has gone up in value like a stock in the bull market. One undercover detective has already been killed for the reward on his head so Audie has to watch himself from all angles.

Before he got his signature role as Dr. Leonard McCoy of the star ship Enterprise, DeForest Kelley did a lot of western roles where he was mostly a really nasty villain. If he hadn’t signed for Star Trek, Kelley might well have kept in this career path.

Murphy himself was getting older and could no longer be cast as callow western youths as he was early in his career. After failing with a television series Whispering Smith, as so many of his fellow players did, Murphy kept doing westerns of varying quality until the end of the Sixties and the end of the B westerns which played the bottom half of double bills.

Not at all saying however that some of his westerns weren’t good. Gunfight At Comanche Creek was done very well for low budget studio Allied Artists and goes at a real nice pace and maintains suspense throughout. Audie has to rely a lot on his wits to keep from being discovered. The gunfight at the end of the film is well worth waiting for.

Good vehicle for Audie and company, but a remake, none-the-less

I liked this film a lot, but then I love westerns. It’s got Audie, Ben Cooper, Jan Merlin, and scores of others, so how can it go wrong? Well, for one thing, it’s a blatant remake of the earlier western, Last Of The Badmen (1957). How the writers of that film could let writer Edward Bernds get by with taking full credit for writing this film is beyond me. Sure, the setting is different, the characters have different names, but the basic story is almost identical. Both films even feature an annoying narrator, who details facts that none of us need to hear voiced….all the way through the film. If you’ve seen both films, you’ll know what I mean.

Which is the better version? It’s hard to say. They are bot very good, with excellent casts and fine direction. Both would have benefited from losing the narrator.

Johnboy

• Year: 2010
• Released: 30 Mar 2010
• Country: USA
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt1558576/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/6_guns
• Metacritics:
• Available in: 720p,
• Language: English
• MPA Rating: R
• Genre: Western
• Runtime: 95 min
• Writer: Geoff Meed
• Director: Shane Van Dyke
• Cast: Barry Van Dyke, Sage Mears, Greg Evigan, Brian Wimmer
• Keywords:

	4.2/10
	21% – Critics
	false% – Audience

6 Guns Storyline

A young woman enlists the aid of a bounty hunter to teach her to be a gunfighter so she can hunt down the men who killed her family.

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6 Guns Movie Reviews

B-Western

Soo… What we have here. Typical low budget movie with typical western theme of revenge.

Action: You get your share of shootout, no worries about that. Though pace of the movie is slow.

Plot: 2 dimensional. Stereotypical. Nothing original.

Acting: Almost non-presented.

What we learn from the movie: 1) Sage Mears is beautiful. VERY beautiful. 2) She will never get an Oscar. NEVER. 3) To look as cool western hero, you must try to be as emotionless as possible and talk as little as possible, and never mind if time to time you look dumb because of that, instead of looking cool.

If you decide to watch this movie:

1) Ignore the plot holes. 2) Ignore all the pointless characters. 3) Lower your expectations to not be disappointed.

goofs and poor props

you will love this movie IF and only IF you like bad acting and a movie set that was put up in the back of a home depot store.. all of the lumber was modern ..the best scene was the one in jail cell when you can see all the wafer-wood painted green.. all of the door knobs are bright brass..

and i loved the double acting hinges on the bars swinging doors the electric porch lights on all of the buildings.. the only reason i finished watching the movie, was to finish out my worst ten movies list.

What about these…?? WASHINGTON QUARTERS (minted in 1932) and ROOSEVELT DIMES (1946)…add to that the brand new JUMBO INDEX playing cards in the poker game.

I’ve seen worse

I watched this while having a bad day and still found it mildly entertaining, and that’s saying something, as I’m not easily-pleased with B-grade movies. Low-budget, sure. Predictable plot, yeah. But the acting was decent. Nice to see Greg Evigan as the sheriff (I remembered him from B.J. and the Bear some 30 years ago, and hardly recognized him.) Sage Mears as the female lead was rather easy on the eyes, and believable. Her character didn’t suddenly become the fastest gun alive after taking shooting lessons, which would seem to be the norm for this type of Western revenge genre. She learned how to hold a gun and pull the trigger, but not a whole lot more. There were a few anachronistic-type flaws, as has been pointed out, but they were easily overlooked. I’m not going to recommend that you make a special trip to the video store. But if you’re in the mood for a Western, I’ve seen much worse. (Try sitting through a Dwight Yoakum Western and see what I mean.)

• Year: 1952
• Released: 08 Feb 1952
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0043751/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/lone_star
• Metacritics:
• Available in: 720p, 1080p,
• Language: English, Spanish
• MPA Rating: Approved
• Genre: Drama, Western
• Runtime: 94 min
• Writer: Borden Chase, Howard Estabrook
• Director: Vincent Sherman
• Cast: Clark Gable, Ava Gardner, Broderick Crawford
• Keywords: texas, senator, shootout, texan, statehood,

	6.1/10
	false% – Audience

Lone Star Storyline

Rip-roaring big star, big budget semi-historical story about cattle baron Devereaux Burke, who is enlisted by an aging Andrew Jackson to dissuade Sam Houston from establishing Texas as a republic. Burke must fight state senator Thomas Craden, in the process winning the heart of Craden’s newspaper-editor girlfriend Martha Ronda.—Lew Amack (LAlawMedMBA@aol.com)

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fun to watch but far from Gable’s best

If you watch this movie anticipating a Western B-movie, you won’t be disappointed. There’s action and romance a-plenty. However, if you realize that this was an A-picture and you hold the film to a higher standard, then you will be disappointed. This film is at best an average Gable film, in that the plot is VERY tired–looking like so many characters Gable played before. In fact, he is a very close variation on Rhett Butler–a cynical Southerner who is only looking out for himself (so he says), but ends up doing the right thing when the chips are down. Yes, there certainly is nothing new here.

As far as other performances go, Ava Gardner is at her best. Broderick Crawford, though, does not come off nearly as well because his character is awfully stupid–especially at the end of the film. And, the utter stupidity of the end of the film is a major problem. One minute Crawford and his men are shooting up the town trying to kill everyone and the next all is forgiven and it’s off too fight the Mexicans! Huh?! I truly hate clichéd, slapped on endings! There are many better Gable films out there. My advice is see them first and then give Lone Star a try.

Historic events and great action as well as a first rate cast

This big budget Western deals with cattle baron Deveraux (Clark Gable) who his assigned by Andrew Jackson (Lionel Barrymore) to convince Sam Houston for union Texas to United States . A fiery newspaper editor (Ava Gardner) is the woman between Deveraux and the bad guy , Craden (Broderick Crawford) . Deveraux must fight state senators (Crawford , Ed Begley , Russell Simpson) for union to United States.

This exciting picture about Texas fights for independence contains Western action , drama , historical happenings , a love story and results to be quite entertaining . Based on a screenplay by Borden chase , a Western expert . Gorgeous Ava Gardner as an intrepid journalist as well as Clark Gable’s love interest . Film debut for George Hamilton and secondary acting by William Conrad and Ed Begley . The motion picture was well directed by Vincent Sherman . Also available in horrible computer colorized version .

It’s partially based on historical deeds about Texas independence, these are the followings : With Mexican permission Stephen Austin brought the first Anglo-American colonists to Texas, the first of many, their numbers grew and they wanted self-government and this desire led to the revolt of 1835, the Texas war for Independence. General Santa Anna, stormed the Alamo, and wiped out the garrison on 6 March 1836. But on 21 April 1836 General Santa Anna suffered a crushing defeat by Sam Houston and was taken prisoner. Texas was declared a Republic in October 1836 and Houston became its first president. In 1845 Texas joined the US, this lead to war with Mexico and disastrous results for that country. Samuel Houston(1793-1863)well performed by Moroni Olsen, was a frontiersman and politician , he went to live with the Cherokees and took a Cherokee wife. After the fall of the Alamo, he managed to keep together a small force and launched a furious surprise attack on the Mexican army of 1300 camped on the western bank of the San Jacinto River. With Texas free and independent republic, Houston was elected the first president. When Texas was admitted to the United States in 1845, Houston was a senator to Washington.

The Texas Dilemma

The diplomatic and political machinations around the admission of Texas to the USA are incredibly complex and are touched on in this film. It would have taken a longer and better film to explain it all. I think MGM had plans for one in this, but Dore Schary was budget cutting at the time and this got B western treatment for a stellar cast.

One thing they show is true and that is the influence of 77 year old former President Andrew Jackson on the Democratic Party he founded. His prestige was that big, he was the dominant political figure for 20 years or so in the country before, during and after his presidency.

Lionel Barrymore reprises the role of Jackson, he had previously played in MGM’s The Gorgeous Hussy. He’s still wheeling and dealing and he doesn’t like what he’s heard that his old friend and comrade in arms Sam Houston is climbing off his position of being for the annexation of the Texas Republic to the United States. On his own he sends Clark Gable as Devereaux Burke Texas cattleman to seek out Houston and get the real story.

On the way to completing his mission Gable finds Ava Gardner who is the editor of a local paper in Austin and Broderick Crawford another Texas cattleman who is violently opposed to annexation. They get a good political rivalry and a personal one over Gardner.

In the film as in real life Sam Houston, played by Moroni Olsen, is running a big bluff. He’s playing footsie with the British by negotiating a treaty of alliance with them in order to force the hand of northern politicians who are against slavery, but who would like even less the British moving into Texas.

There’s an exciting battle between the pro and anti annexation forces while the Texas Congress meets. It results however in a very unreal conclusion to the story.

It’s unfortunate given the stellar cast Lone Star has that a better scripted story was not developed for them, even one that is completely factual. It’s an A picture subject that got B picture treatment.

• Year: 1931
• Released: 07 Mar 1931
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0022243/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_painted_desert
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: Passed
• Genre: Drama, Western
• Runtime: 79 min
• Writer: Tom Buckingham, Howard Higgin
• Director: Howard Higgin, Tom Buckingham
• Cast: William Boyd, Helen Twelvetrees, William Farnum
• Keywords: baby, mining, feud, foundling,

	5.2/10
	false% – Audience

The Painted Desert Storyline

Western pardners Jeff and Cash find a baby boy in an otherwise deserted emigrants’ camp, and clash over which is to be “father.” They are still bitterly feuding years later when they own adjacent ranches. Bill, the foundling whom Cash has raised to young manhood, wants to end the feud and extends an olive branch toward Jeff, who now has a lovely daughter. But during a mining venture, the bitterness escalates. Is Bill to be set against his own adoptive father?—Rod Crawford

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The Painted Desert Movie Reviews

Gable grumbles as the tumbleweeds tumble with Bill Boyd as Gandhi

The star of this film is William Boyd, who made a bunch of westerns for Pathe in his time. As a matter of fact, on the opening credits,Clark Gable isn’t even listed. Later, when they name the entire cast he is mentioned, but he comes way behind top rated Boyd and even now largely forgotten Helen Twelvetrees.

Two pioneers, Cash Holbrook and Jeff Cameron, are trekking across the desert when they find a deserted encampment with one survivor, a baby boy. The two fight over where to go next. Jeff Cameron wants to stay at the waterhole because “it is a grub stake” – all people driving cattle through will need this waterhole. Cash Holbrook wants to continue on to grazing land so he can raise cattle. He calls Jeff stubborn, and takes the baby too, daring Jeff to shoot because if he does, the baby will fall from Cash’s arms and break his neck.

About twenty years pass and Cash has become a wealthy cattleman. Not being ambitious in the old west has cost Jeff. He married, but his wife died in this harsh environment, and all he has left is his daughter, Mary Ellen (Helen Twelvetrees). In all of this time Cash and Jeff have agitated one another – Jeff is still angry at Cash for stealing the baby boy that is now a man, refusing to let Cash’s herd use his watering hold for any price and makes him go 27 miles around. One night it is coming to a showdown. Cash is going to stampede his cattle to Jeff’s watering hole and show him who is boss. Jeff and his daughter are prepared to shoot it out to stop him. Along comes a stranger – Gable as Rance Brent, and with him instantly taken with Mary Ellen, Rance decides to back them up in the shootout.

Cash’s adopted son comes out and stampedes the cattle away from the watering hole to prevent the deadly shootout. Cash is angry, and throws Bill (Bill Boyd) out. Bill went to mining school, discovers tungsten on Jeff’s land, and enters into a mining partnership with his dad’s sworn enemy.

Now this is where the movie is weird. Bill is acting Gandhi-like saying that he takes neither side, he just wants Cash and Jeff to be friends again and that neither is bad or wrong. I beg to disagree, because to me Cash IS a bad man up to this point. First he uses Bill the infant as a human shield, and when Bill keeps something from escalating into bloodshed, Cash throws that son out of his life.

In the meantime, Jeff and Bill’s mine is yielding lots of ore, and out of nowhere – certainly not out of any dialogue that I could perceive – Bill and Mary Ellen are in love. Meanwhile somebody is sniping at the drivers who are taking the ore into town to the railroad, and then some dynamite disappears and the mine is blown to smithereens. Everybody on Jeff’s place blames Cash, and it is up to Bill to stop another potential showdown and shootout. I’ll let you watch and find out what happens.

This film has absolutely no background music, which was common in early films, and much of the dialogue is very pedestrian. However, it is a good chance to see Gable in his first sound film, and although he hardly utters a word, you can see the beginning of “that Gable style”.

Keep This One In A Glass Case — It’s A Museum Piece

The Painted Desert is best remembered as Clark Gable’s first substantial role for good reason. The future King of Hollywood’s natural, dynamic style of acting stands out in this extremely creaky early talkie Western. In an unrewarding heavy role Gable speaks in his trademark relaxed, cocky manner, while other, more experienced actors such as J. Farrell MacDonald, early silent era star William Farnum, and a stiff-as-a-board Bill Boyd deliver their lines one distinctly enunciated word at a time as if speaking toward a microphone hidden in a cactus. Admittedly Boyd wasn’t much of an actor in spite of his good looks and sunny disposition, but MacDonald and Farnum were. Blame an under-financed sound department and uninspired direction by Howard Higgins, who also co-wrote the murky script for this lumbering oater. Those who would excuse the stiff direction and acting as caused by unavoidable problems with early sound equipment should first take a look at Joseph Von Sternberg’s Morocco (1930), released the year before The Painted Desert, but showing a marvelously sophisticated and artistically pleasing use of sound. Other than Gable, the only other actors who managed to rise above the restraints of the over-compensating sound technicians and Higgin’s stodgy direction were gorgeous leading lady Helen Twelvetrees and Boyd’s beautiful white horse.

That’s not to say that The Painted Desert doesn’t have some good points — especially for die-hard Western fans. Most of the low, low budget must have been spent carting the actors, crew, and equipment around several scenic Arizona locations, including the sure-enough Painted Desert. Sets by art director Carrol Clark and costumes by Gwen Wakeling were well turned out and authentic looking. Oldblackandwhite, who is one of the vanishing breed of Texans still preferring the Stetson style to the ubiquitous Beaver Cleaver ball cap, wishes he could find the hatter Ms. Wakeling used for this picture. The sets and costumes, along with a folksy, real-to-life dialog, as plodding as the delivery was, gave the movie an authentically quaint, rustic 19th century ambiance missing in many a better produced Western.

Best of all, and almost worth the price of a DVD — a cheap one anyway — was having a tense, climactic, sixgun showdown between two elderly gentlemen! But there wasn’t much else to get excited about in The Painted Desert. Mainly for curiosity seekers, dedicated Clark Gable fans, fanatical Western aficionados, and the usual desperate insomniacs. Neither the best nor the worst from Old Hollywood’s Classic Era.

More Valuable Than Tungsten

The Painted Desert is a less than average western in which Clark Gable made his first film with any billing. Previously he had been a bit player in several silent features, but this his first role of any substance. It’s the only reason The Painted Desert has any significance in Hollywood history.

Made for Pathe Pictures just before they merged with RKO, The Painted Desert is the story of two old desert rats, William Farnum and J. Farrell MacDonald who find an infant alive in a covered wagon on the desert.

For reasons I don’t understand, a disagreement about whether to lay claim to a waterhole or to push on further and find enough land for a cattle ranch turns these friends into blood enemies. Farnum takes the infant and raises him as his own.

The infant grows up to be William Boyd in his pre-Hopalong Cassidy days and he becomes a mining engineer and discovers tungsten ore on the MacDonald property. He also takes a shine to MacDonald’s daughter Helen Twelvetrees. Also in the race for her hand is Clark Gable.

Gable’s performance as the roughneck rival to Boyd caught some attention at Metro-Goldwyn-Mayer and he became within a year, the studio’s biggest star ever in its existence.

Possibly due to bad editing, possibly to bad writing, but The Painted Desert is far from the greatest western I’ve ever seen. But it yielded something far more valuable than tungsten.

• Year: 1958
• Released: 01 Mar 1958
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0051349/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/ambush_at_cimarron_pass
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: Passed
• Genre: Drama, Western
• Runtime: 73 min
• Writer: Robert A. Reeds, Robert W. Woods, Richard G. Taylor
• Director: Jodie Copelan
• Cast: Scott Brady, Margia Dean, Clint Eastwood
• Keywords: confederate, civil war veteran,

	5.3/10
	32% – Critics
	false% – Audience

Ambush at Cimarron Pass Storyline

The survivors of an Army patrol ambushed by Indians hook up with a group of cowboys who have also been attacked, and together they try to get to safety at the fort. Unfortunately for them, they’re carrying a shipment of several dozen rifles that the Indians want, and are determined to get.—frankfob2@yahoo.com

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Ambush at Cimarron Pass Movie Reviews

“A Man’s Gotta Do A Lot Things He Doesn’t Bargain For.”

Director Jodie Copelan’s “Ambush at Cimarron Pass” qualifies as an entertaining but predictable 73-minute, black & white, B-movie, military western about the cavalry versus Apaches, with one noteworthy distinction—a young, clean-shaven, pre-“Rawhide” Clint Eastwood receives third billing. The title classifies “Ambush at Cimarron Pass” as a landscape western, and it foreshadows where the climactic action will transpire. Mind you, this is a characteristic of many westerns because the terrain acts as an arena for our heroes to prove their mettle. The Richard G. Taylor & John K. Butler screenplay based on a story by Robert A. Reeds & Robert E. Woods yields several quotable lines about masculinity. The central theme here is bargains. Survival depends on bargains. Copelan at the helm of his first and only film explores the usual themes of man versus man, man versus society, man versus his environment, and the issue of apocalyptic armaments. Clearly, the Winchester repeating rifles at the heart of this drama serve as metaphors for atomic weapons. Copelan emphasizes their role early on by presenting them in the first close-ups so that we cannot overlook them. The durable and dependable Scott Brady must prevent these rifles from landing in Apache hands. The Apaches are the equivalent here for the Soviets.

Twentieth Century Fox released this modest 1958 oater through its subsidiary company Regal Films, and theatres originally projected “Ambush at Cimarron Pass” in a widescreen process called Regalscope. Unfortunately, the Western Channel version is full frame, but you can imagine what the extent of the composition. “Showdown at Boot Hill” lenser John M. Nickolaus Jr.’s photography adds suspense to the action. He composes his shots so that the Indians appear on the periphery, frames shots through the arch on a warrior’s legs so that they seem to dominate the terrain. All-in-all, “Ambush at Cimarron Pass” is a polished looking western. Copelan helmed a handful of television shows, but spent most of his/her (?) time as an editor on about 40 movies and television series. Clint Eastwood has a low opinion about his first western. He has been quoted as calling it “probably the lousiest Western ever made.” Actually, “Ambush at Cimarron Pass” surpasses many lesser frontier army westerns and its armaments plot—one of the genre’s integral conventions—assumes greater significance in light of the Cold War era release date and the paranoia about Armageddon.

Sergeant Matt Blake (Scott Brady of “Johnny Guitar”) of the Seventh Cavalry and the four surviving troopers of his patrol are escorting a civilian prisoner, Corbin (Baynes Barron of “Fireball 500”), back to Fort Waverly to stand trial for selling repeating rifles to the Apaches. We learn later that Corbin struck a deal to sell the Indians 36 repeating rifles. Blake describes the magnitude of the threat that these rifles pose to the cavalry. “These new guns have the firepower of another company and fire 15 rounds without a reload.” Our beleaguered cavalry heroes ride into an ambush less than five minutes into the action. They discover, however, the Apaches aren’t trying to dry-gulch them. Instead, a band of former Confederate soldiers led by ex-Colonel Sam Prescott (Frank Grestle of “Crossroads”) are shooting at them initially until they agree to a truce and Sgt. Blake pow-wows with them. Although two years have passed since the end of the American Civil War, old wounds don’t heal as quickly. Prescott’s second-in-command, Keith Williams (Clint Eastwood of “Star in the Dust”) hates Blake from the start and accuses him of lying. “All Yankees are liars,” Keith snarls with considerable animosity. The Georgia native bears a grudge against the Yankees because his family has suffered the wrath of General Sherman in the South.

Prescott explains that Apaches masquerading as troopers jumped them and stole their whole herd of cattle. Blake realizes that the Indians must have gotten their uniforms from his slain troopers. “A man has to take a lot of things he doesn’t bargain for, Prescott,” Blake observes and then adds, “Maybe that’s what makes him a man.” Prescott points out that they are heading for Waverly, too. No sooner do the Southerners and the cavalrymen form an uneasy alliance than two Apache horsemen appear and leave a bound woman sprawled in open ground not far from them. Our heroes rush to Teresa Santos (Margia Dean of “FBI Girl”) and everybody is surprised when the Indians steal their horses and take Cobb (Desmond Slattery), one of the ex-Confederates, as a hostage. The treacherous redskins used Teresa as a decoy so that they could distract our heroes. Teresa explains that she is from the Santos Ranch. It seems that marauding Apaches burned it and killed her brother, sister, and father. The Apaches offer our heroes a bargain: Cobb in exchange for the rifles. Blake categorically refuses to negotiate. The Indians never let up on our heroes and whittle their numbers.

Naturally, tempers flare among the heroes over the value of the guns versus the former Confederates. “Getting riled up at each other ain’t the answer,” a conciliatory Prescott intervenes. “Let’s calm down and talk this out,” Eventually, Blake, Prescott, Keith, Teresa along with the troopers and Southerners have to strike out of foot with the 36 repeating rifles slung over their shoulders for a six to seven day march to Fort Waverly. Judge Stanfield (Irving Bacon of “Fort Apache”) refuses to tote any guns. Eventually, Keith comes to his senses and sheds his antipathy toward Yankees in general and Sgt. Blake in particular. The last line that Keith utters summarizes the value of “Ambush at Cimarron Pass” in the career of Clint Eastwood. Says Keith, “Sometimes you have to lose before you can win.” Another memorable line occurs when Private Lasky points out to Johnny Willows about their non-commissioned officer that: “A sergeant who isn’t rough on his men winds up burying most of them.” Clint Eastwood shouldn’t be too ashamed of this B-western. You know the budget was tight because nobody changes their clothes throughout the action.

Watchable story of former confederates and Yankees joining…

1st watched 9/14/2007, 6 out of 10(Dir-Jodie Copelan): Watchable story of former confederates and Yankees joining forces to thwart off some Apache’s trying to get some repeating rifles that a traitor had sold to them. This is a very simple story that is executed very well by all involved. The idea behind it is that the Civil war has just ended but there are still hard feelings between the sides. The Yankee(northern troops) are trying to transfer some rifles and a prisoner to a nearby fort but are intercepted by some southern-folk that they think are Apache’s dressed up like them(they had been fooled by the Apache’s earlier this way). The Apache’s then steal the whole combined troops horses and have to travel by foot six days the rest of the way. The conflict in the movie has to do with these two groups getting along while the Apache’s slowly figure out how to overcome them and get the rifles. There is eventually a showdown but by this time the hard work of reconciliation has been done and the fight with the Indians is kind of anti-climatic. Clint Eastwood, in an early role, plays a young hard-hearted southern man who eventually turns to help out the crew and does a good job, but’s its the story that keeps you interested. An abrupt end is the only real downside to the movie(which appeared to be mainly because the small film company ran out of money more than anything else), but this small film delivers otherwise and is enjoyable viewing.

Young Clint glints as a diamond in the rough

Let’s face it – the only real reason to catch this pedestrian oater is to get a glimpse of a 27 year old Clinton Eastwood. The future star is still coltish in his acting craft here, and he hasn’t fully developed his excellent timing and intensity as in “The Good, The Bad, and The Ugly” and “Dirty Harry”, but the B western does show why this film was a good reason that he pursue acting. His scenes with Margia Dean are the best in showing a charisma which would one day make him box office.

Made in 1958, Eastwood looks very youthful. He holds his own in scenes with a sturdy and sullen Scott Brady, and is somewhat confined by a script that has him cast as the young fool. But Eastwood does well with what he’s got, and exhibits a star quality as a young Hollywood actor.

• Year: 1949
• Released: 05 Aug 1949
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0041332/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/el_paso
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: Approved
• Genre: Western
• Runtime: 103 min
• Writer: Lewis R. Foster, J. Robert Bren, Gladys Atwater
• Director: Lewis R. Foster
• Cast: John Payne, Gail Russell, Sterling Hayden
• Keywords: shootout, gun fight,

5.8/10

El Paso Storyline

Ex-confederate officer Clay Fletcher jumps at the chance to reunite with his once lady-friend, Susan Jeffers, when his father, Judge Fletcher, sends him on an errand to El Paso, Texas to get the signature of Susan’s father, Judge Jeffers, on a legal document. Once there he finds the judge has become a drunk and a laughing stock, doing the bidding of local magnate Bert Donner and his running dog, Sheriff La Farge. Just as Clay starts straightening out the town’s problems, events occur which force him to abandon the legal system and instead adopt the murderous tactics of a vigilante.—Doug Sederberg

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El Paso Movie Reviews

Desite the very familiar nature of the film, it’s well worth seeing.

“El Paso” is an ugly looking film. I assume it looked a lot better when it first debuted, but the print from Netflix is yucky looking. Part of this might be because it used Cinecolor (a very inexpensive but far from perfect color system) and part of it surely is due to the effects of degradation over time. All I know for sure is that the film is full of sepia tones and green-grays but many other colors are absent.

The film begins just after the Civil War. A lawyer (John Payne) is sent from Charleston to El Paso to get some papers signed by a judge who used to live in South Carolina. Unfortunately, when Payne arrives, he finds that the judge (Henry Hull) is a drunk and the town is run by an evil boss (Sterling Hayden) whose aim is to steal away everyone’s land. Can Payne use the law to his advantage or will he and his new friends have to take the law into their own hands?

The evil boss-man theme is a very, very familiar one in American films of this era–perhaps THE most familiar. I am pretty sure it was used long before it was in “Birth of a Nation” (this was an evil boss film despite its sick racist message). Because it’s become a bit of a cliché, “El Paso” certainly lacks originality. But, despite the familiar, the film is handled well on several levels. While the boss-man story is overused, using an alcoholic judge to help make the land-grab ‘legal’ was an inspired change to the standard story. Additionally, Payne and Hayden are both good actors and make the most of the material. In addition, it was nice to see the way Mexicans were handled in the film. Too often, they are simpletons in westerns, but here they are both noble AND manly–with Eduardo Noriega’s character being one of the better ones in this era. Along for the ride is old reliable Gabby Hayes for a nice bit of comic relief. In addition, while the film might be a bit blood-thirsty, it sure did make it exciting and better than the usually over-sanitized western of the day. The overall package manages to breath life into an ancient sort of story and makes the film a lot better than it should be. Worth seeing–particularly if you like westerns.

Law And Order Breaks Down

I think El Paso started out to be a much more ambitious western than it eventually turned out. There was a lot more potential there than for what did eventually make it to the screen.

Except for a short subject he did at Warner Brothers in 1939 El Paso was the first western that John Payne did and he definitely seemed comfortable in the genre. He plays a lawyer and former Confederate veteran who goes west to El Paso from Charleston, South Carolina in search of an old friend of Payne’s grandfather H.B. Warner.

That friend is Henry Hull who went west with his daughter Gail Russell for health reasons and is now a drunken pawn of town boss Sterling Hayden. With Hull as judge and sheriff Dick Foran to enforce some trumped up foreclosures, Hayden’s grabbing all the real estate he can in and around El Paso from veterans who were not paying taxes while they were fighting in the Civil War.

Payne tries it the legal way, but he’s learned a few things as well in those war years. When it doesn’t work he finds himself leader of a guerrilla band who are exacting justice after a couple of murders of cast members sympathetic to Payne.

Editing was pretty botched in El Paso. There are references during the film to scenes that were obviously cut out. The film also seemed to be building to a terrific climax and the end was quite a let down. You’ll see what I mean if you view the film.

El Paso was produced by Pine-Thomas Productions, two guys with the first name of William. William Pine was Cecil B. DeMille’s associate producer on several of his earlier epics from the Thirties and I think he was expecting a DeMille like budget and didn’t get it. So cuts were made that I think spoiled the overall quality of the film.

Still fans of the western and of John Payne will like it. Note the comic relief performances of Mary Beth Hughes as Stagecoach Nell and Gabby Hayes for once an Easterner in a western.

Long Arm of the Law !

This Cinecolor Western from 1949 boasts a terrific cast and an interesting storyline. John Payne stars as a gun-toting attorney who takes on the so-called “lawmen” of El Paso. Sterling Haytden and former singin’cowpoke Dick Foran have fun roles as the bad-guys running the town. With the help of a drunken Judge, they rule with an iron fist …. until Payne arrives !

Gabby Hayes has a featured role and is as endearing as ever. This film is fun and well-produced, but is a little long & drags a bit in the middle.

Those with patience and a 100+ minutes to spare should enjoy this old-fashioned cowboy movie.

• Year: 1950
• Released: 01 Aug 1950
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0042315/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_cariboo_trail
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: Approved
• Genre: Western
• Runtime: 81 min
• Writer: Frank Gruber, John Rhodes Sturdy
• Director: Edwin L. Marin
• Cast: Randolph Scott, George ‘Gabby’ Hayes, Bill Williams
• Keywords: gold, cattle drive, gunfight, cattle, british columbia, stampede,

5.9/10

The Cariboo Trail Storyline

Jim Redfern dreams of owning his own cattle ranch and along with his partners Mike Evans and Ling heads off on the Cariboo Trail into the interior of British Columbia. There’s a gold rush on and along the way they’re joined by old-timer Grizzly Winters, a prospector who hasn’t had much luck of late. They soon come up against Frank Walsh whose men stampede their cattle. Evans is severely injured forcing Redfern to amputate his left arm. Evans hates him for that and will have nothing to do with him or his dream of the cattle ranch. Walsh owns the local town making it difficult for Redfern to get re-established. Things begin to go his way when he finds gold.—garykmcd

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The Cariboo Trail Movie Reviews

A Randolph Scott Cattle Empire Building Western in Canada . . . !

Although “Tall in the Saddle” director Edwin L. Marin’s “Caribou Trail” was filmed in color, the print that I saw on Turner Classic Movies is the black & white version. Western novelist Frank Gruber penned this oater from a story by John Rhodes Sturdy who had written the 1943 World War II naval epic “Corvette K-225.” Altogether, “Caribou Trail” qualifies as a low-budget empire building western where the hero must triumph over a corrupt city slicker who owns an entire town, except for the saloon, before he can establish his ranch. By and large, this Scott western is fairly predictable stuff. The departure that sets “Caribou Trail” apart from most westerns is its treatment of a character that loses his arm during a cattle stampede.

Jim Redfern (Randolph Scott of “Jesse James”), Redfern’s partner Mike Evans (Bill Williams of “Rio Lobo”) and their cook Ling (Lee Tung Foo of “Mission to Moscow”) are driving 36 head of cattle north from Montana into Canada to build a ranch. Mike doesn’t want to raise cattle; he came to prospect for gold. Redfern believes that cattle will flourish long after the gold has been depleted. After they cross the national boundary, our heroes find themselves at a toll bridge owned by the chief villain, Frank Walsh (Victor Jory of “The Capture”), whose henchmen want more money for their passage than Redfern is willing to pay. Mind you, Frank Walsh isn’t around in this early scene, but his second-in-command Bill Murphy (Douglas Kennedy of “Dark Passage”) is there. Anyway, Redfern refuses to pay the toll so Mike and he stampede their cattle and wreck Walsh’s bridge. Once they are across, they encounter an old, bearded prospector Oscar ‘Grizzly’ Winters (George ‘Gabby’ Hayes of “Colorado”) on the trail who catches a ride on Ling’s wagon and cooks up some tasty grub for their first night under Canadian stars. Not long after they eat, they hear gunshots and unidentified rustlers stampede Redfern’s own cattle. During stampede, Mike is injured and the town doctor must amputate his left arm. Mike didn’t want to go to Canada in the first place and he blames the loss of his arm on Redfern.

Meanwhile, after he exits the doctor’s office, Redfern meets Walsh. Initially, he passed him on the way for a snort at the Gold Palace, the local bar run by a woman, Francis Harrison (Karin Booth of “Cripple Creek”), who has steadfastly refused to sell out to Walsh. Walsh, it seems, has his name on every business in Carson Creek. Eventually, Redfern and Grizzly have to sell their saddles for more grub and Redfern talks about getting a job. One of Walsh’s former gunhands Bill Miller (Jim Davis of “Big Jake”) shows up in town conveniently selling beef with Redfern’s brand on it. They slug it out in Francis’ bar and then Redfern guns down Miller outside in a fair fight. Redfern believes Walsh has been the source of his misfortunes since he refused to pay up at the toll bridge. Grizzly suggests that they prospect and Ling provides $300 of his hard-earned dollars. Our heroes head off to prospect in a mini-version of “Treasure of the Sierra Madre” with Gabby playing the Walter Huston role. By this time, Mike has recovered sufficiently to tangle with both Walsh and Murphy in Francis’ bar, while Redfern discovers a cattlemen’s paradise in the faraway mountains during his prospecting. A tribe of Blackfoot Indians appear and Redfern and company shoot it out with them, killing two of them before they capture them and take them back to their camp. During a pow-wow, Grizzly’s mule Hannibal wanders into camp and Redfern uses Hannibal’s kicking powers so our heroes can break out of the camp. Redfern snatches a rifle and a horse and then rides out. When he stops for water, he discovers gold in a stream. Redfern dishes out $900 worth of glitter, but there is only one person who can buy his gold. Walsh refuses to pay the full amount and charges Redfern $300 plus for cost of his damaged toll bridge. Murphy incites the citizens of Carson Creek against Redfern when he refuses to divulge the whereabouts of his strike. Redfern escapes just ahead of a mob and hits the frontier where he reunites with Grizzly. Grizzly has tied in with a group of Americans that are herding cattle. Redfern buys a 25 per cent interest in the herd. The cattle foreman is Will Gray (Dale Robertson of “The Silver Whip”) Ling shows up at Francis’ saloon and she hires him as a cook.

Despite the loss of his left arm, Mike Evans has grown to be a threat to Walsh; he goads Walsh’s henchman Murphy repeatedly to draw on him, and Murphy backs down. In one scene near the end of “The Caribou Trail,” Evans shoots it out with two gunmen and sends the third running. Walsh forges a quick alliance with Blackfoot Chief White Buffalo (Fred Libby of “Three Godfathers”) to stampede Winters’ cattle, but Evans shows up like the cavalry to kill Murphy and Walsh before the mustached villain drills him.

Redfern’s escape from the Blackfoot camp seems more hilarious than dramatic despite the number of shots of a mule kicking Indians. Presumably, Marin and Gruber must have felt it wouldn’t be fair for the Indians to shoot the mule. Meanwhile, the evolution of Mike Evans from a one-armed man to a one-armed army with his handy six-gun predated the likes of Joe Don Baker’s one-armed gunman in “Guns of the Magnificent Seven.”

“Caribou Trail” is one of those oddball westerns set in Canada where—as one commentator—has observed doesn’t have any Royal Mounted Policemen intervening between the hero and the villains. Although it isn’t especially memorable as many of Scott’s later westerns, “Caribou Trail” clocks in at a trim 81 minutes and Marin neither wears out his welcome nor does he let the narrative drag.

Acceptable and decent western set in British Columbia with nice performances from some big names

It deals with two prospecting and cowmen, Randolph Scott, Bill Williams, head into Canadian mountains seeking their fortune in British Columbia, via the Cariboo trail, the golden west of Canada in the 1890s, as they intent to raise cattle and dig for gold . But the two Montanans find themselves opposed by claim-jumpers, ranchers and a ruthless land baron from a prosperous city , who is owner of the general store , trading post , Cariboo Hotel, and mining company called Walsh : Victor Jory, and his henchmen : Douglas Kennedy, Jim Davies . Meanwhile, Scott falls in love for the beautiful owner of the Gold Palace Saloon, Karin Booth.

Passable western with good cast in in which two gold diggers protagonists, Scott and Williams, fight in hopes a better life and stifle conflicts, but encounter problems instead. It is a medium budget movie with thrills, noisy action, shootouts, stampedes as well as fine players, nice production design and pleasing results. It is still a run-of-the-mill entry in Western genre, set when Gold Fever expanded in Canada in which Scott and his colleague Bill Williams go British Columbia leading their cattle hoping in achieving fortune. Actually shot in Colorado with adequate interpretations and solid sets . Made the same year that the Gaby Hayes show was aired. The picture is well starred by Randolph Scott . He was a prolific actor in Western, his career is divided in films directed by Budd Boetticher in Seven men from now, The tall T, Decision at sundown, Buchanan rides alone, Comanche station, Westbound. Henry Hathaway as : Heritage of the desert, Wild horse, Sunset Pass, Man of the Forest. Ray Enright directed him in : The spoilers, Trail street, Alburquerque, Coroner creek, Return of the bad men. Andre De Toth directed him in Men in the saddle, Carson city, The stranger wore a gun, Riding shotgun, The bounty hunter. Finally, his main testament, Ride the high country along with Joel MacCrea directed by Sam Peckinpah .Support cast is pretty good with notorious secondaries as the always sympathetic George Gaby Hayes, Victor Jory, Jim Davies, James Griffith, Douglas Jackson, Mary Stuart and Dale Robertson.

Atmospheric cinematography in a fading Cinecolor by Fred Jackson, though there are prints in black and white. Evocative and thrilling musical score by Paul Sawtell. Well produced by Nat Holt, the motion picture was professionally directed by Edwin L Marin. He directed in sure visual style and he made all kinds of genres, especially Westerns. As he shot various Westerns as Tall in the saddle with John Wayne and Ella Raines, Canadian Pacific, Fighting man of the Plains, Colt 45, Raton pass, The Younger Brothers . Randolph Scott starred his last Westerns until his early death at 53, such as The Cariboo trail, Sugarfoot, and Fort Worth.

Not a Caribou in Sight

Randolph Scott is leaving the USA for the greener pastures of Canada’s British Columbia. He wants to start a cattle ranch there with partner Bill Williams and cook Lee Tung Foo. They stampede their small herd over a toll bridge erected by Victor Jory. Later Jory rustles their cattle and Williams loses his left arm during the fracas.

From 1945 until 1962 when he retired, Randolph Scott made a series of good adult themed westerns, some of them considered real classics. Unfortunately the Cariboo Trail will never be listed among his best westerns.

It’s more like the material that Roy Rogers or Gene Autry might use. The story is downright silly at times. Williams who was along for the ride with Scott, he wanted to go prospect for gold as there was a big strike at the time. He doesn’t blame the rustlers, he blames Scott for convincing him to make the trip for the loss of his arm.

Also there’s a scene in the film when Scott, Lee Tung Foo, and Gabby Hayes are captured by Indians. They escape because Gabby’s mule has been taught to kick on command and he kicks away at the Indians allowing our heroes to escape. I’m not sure that would have played in a Rogers film.

Furthermore the story actually wants you to believe that tyro prospector Randolph Scott accidentally stumbles on a gold strike after just a few lessons from prospector Gabby Hayes on how to find gold.

This was Gabby Hayes’s farewell feature film part. It would have been better had he gone out in a good western and in fact he had done a couple of better ones with Randolph Scott before this.

I will say this, though no Caribou made any appearance in the film, this is one of the few Canadian locale films from the past that did NOT have any Mounties.

But if I were you unless you are a big fan of Randolph Scott or Gabby Hayes, take the next detour off The Cariboo Trail.

• Year: 1947
• Released: 15 Jul 1947
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0039441/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/gunfighters
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: Passed
• Genre: Western
• Runtime: 87 min
• Writer: Alan Le May, Zane Grey
• Director: George Waggner
• Cast: Randolph Scott, Barbara Britton, Dorothy Hart
• Keywords: sheriff, ranch, sister, murder,

6.3/10

Gunfighters Storyline

Gunfighter “Brazos” Kane lays aside his guns “forever” when he is forced to shoot his best friend, and decides to join another friend, Bob Tyrell, as a cowhand on the Inskip ranch. Upon arriving there he finds the bullet-riddled body of his friend. He carries the body to the Banner ranch, the largest in the territory, and is accused by Banner of murdering Tyrell; Banner orders Deputy Sheriff Bill Yount, who is in Banner’s pay, to arrest Kane. But Kane has the sympathy of Banner’s daughter, Jane, who notifies Inskip of Kane’s plight, and Inskip arrives in time to prevent a lynching. Sheriff Kiscade dismisses the murder charge for lack of evidence. Brazos then sets out to find the killer of his friend. Bess Bannister, Jane’s sister, is in love with the Banner ranch foreman, Bard Macky, and knowing that Bard killed Tyrell and that Kane will track him down, then hampers Kane’s mission somewhat by pretending to be in love with him.—Les Adams

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Gunfighters Movie Reviews

“No gunfighter can hang up his guns.”

For a fairly standard Forties Western, this one had a few interesting elements beginning with the opening showdown between Brazos Kane (Randolph Scott) and an unknown assailant who calls him out. We learn immediately after that it was Kane’s best friend who wanted to see how fast he really was with a gun. I’m not certain that would be the best way to test one’s quick draw reflexes, a guy could get seriously hurt that way.

And then there was that scene in Bannertown when Bard Macky (Bruce Cabot) ran his horse into Kane’s, and actually knocked Kane’s horse down! I had to wonder if that was scripted or just happened and the crew just kept on filming. The rest of the scene played out curiously as well, with Kane dodging Macky’s horse as he tried to bring his opponent to ground level.

But you know, as I sit here and think about the story, it seems to make less and less sense. Kane’s attempt to investigate his friend’s murder eventually leads him to Banner henchman Macky and daughter Bess (Barbara Britton), who’s boot-print turns up at the murder scene. So in the tradition of all your cowboy hero good guys, you’d expect Kane to bring both of them to justice by the end of the picture. Especially since Banner himself (Griff Barnett) ordered the murder of Bob Tyrell.

So with the picture setting us up for a Kane romance with Bess’s sister Jane (Dorothy Hart), was it Bess who got to ride off into the sunset with Kane? The sisters did look an awful lot alike. Actually, I do know which one hooked up with Brzaos at Monument Rock; the tease here is just to see if you were paying attention.

A tale of two sisters

Very polished,as one might expect from such an experienced director as Mr F.Waggner,who,along with cinemaphotographer Mr F.Jackman jr had a long career in films and tv – always relied upon to bring his stuff home on time and professionally produced. There are some elegantly posed interiors that would not disgrace Ford here. Not unlike “The Big sleep” this is a story of a father and his two daughters and the Philip Marlowe figure who becomes involved in their lives. Enter the straightforward,honest gunfighter Brazos Kane (Mr R.Scott) wrongly accused of murder his partner and railroaded by The girls’ father and a crooked sherriff who scarcely escapes a lynching before setting out on a revenge mission. One sister is good and the other not quite so good and frankly they run rings round the bemused Brazos. Appearances by Mr B.Cabot,Mr F.Tucker and other familiar Western characters add a pleasing sense of deja vu as Mr Scott unravels the mystery of his partner’s death. Films like “Gunfighters” filled our screens in the years immediately after the second world war as the British movie industry struggled to re – invent itself, and supplied a much – needed reassurance that good would triumph over evil to a nation that had endured a very close – run thing for six years. Mr Scott represented the old values of decency and courage that had threatened to be overcome and we loved him for it. Right up until “Ride the High Country” in 1962 his righteous bloody – mindedness represented the best of the American Spirit for us Limeys who were grateful to his countrymen for saving our arses in two world wars..

Pretty standard fare–which is NOT a bad thing with a Randolph Scott film

Saying that a Randolph Scott film is ordinary is NOT a bad thing at all, as this ordinary was still amazingly good. While I like a good western, I always look forward to one of Scott’s, as his films were consistently fine–and set a high standard for the industry. So, when I say that “Gunfighters” is about average for him, this is still more than enough reason to find this movie.

The film begins with a friend of Brazos Kane (Scott) challenging him to the draw. Without thinking, he turns and shoots the friend–nearly killing him. That’s when Kane realizes he has got to hang up his guns, as practically all the punks are itching to duel it out with his legendary gunfighter. So, he leaves town and heads to the ranch belonging to an old friend–only to find the guy dead–a victim of a murder. Still swearing to avoid a life of violence, he swears to find out who did it and bring them to justice. However, naturally, there are some baddies (two of the baddest in these films, Bruce Cabot and Forrest Tucker) aren’t about to give up and decide to shoot Kane–whether he is willing to pick up a gun or not. Along the way, Kane becomes involved with two sisters who look very much alike (oddly, they actually are played by two different actresses–not the same lady–but they do look like sisters!). Can he manage to maintain his vow never to shoot again and still get justice?

The best thing about the film is Scott’s easygoing acting style. It manages to make all his films (even the poor ones) well worth seeing. The wonderful California and Arizona locations shot in vivid color didn’t hurt, either! I also appreciate the ending, though it will no doubt disappoint many. It does NOT have the predictable and nice Hollywood ending–and this might be something you dislike, but I thought it added some nice tension to the film. Keeping things unresolved didn’t bother me. The only thing that ever bothers me is because I am a history teacher I realize that this film represents a highly idealized version of the west–not what really was. In reality, shootouts were rare and most of the time it really consisted of some jerk shooting some poor slob in the back–not the clichéd shootout on main street at high noon! Still, entertaining and well made.

FYI–The film is currently available for legal free viewing and download at archive-org–a site frequently linked to IMDb listings.

• Year: 1970
• Released: 08 Oct 1970
• Country: Italy, Spain
• Adwords: 1 nomination
• IMDb: https://www.imdb.com/title/tt0065499/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/buon_funerale_amigos_paga_sartana
• Metacritics:
• Available in: 720p, 1080p,
• Language: Italian
• MPA Rating: Not Rated
• Genre: Western
• Runtime: 91 min
• Writer: Giovanni Simonelli, Roberto Gianviti
• Director: Giuliano Carnimeo
• Cast: Gianni Garko, Antonio Vilar, Daniela Giordano
• Keywords: spaghetti western,

6.6/10

Buon funerale amigos!… paga Sartana Storyline

After witnessing a brutal massacre, the legendary hero Sartana is ready to do some investigating. Almost everyone in the tiny town of Indian Creek seems eager to buy up the property left behind by the murder victims, and one of them could well be behind the killings. The sheriff himself is not above suspicion, so Sartana must uncover the culprit all on his own.—Jean-Marc Rocher

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Buon funerale amigos!… paga Sartana Movie Reviews

Another point of view

Sartana is part of a series and is not meant to be on the level of Eastwood films. It does not have to be. All though there are 5 official films in this series 4 of then star Gianni Garko. This is the third one. Sartana does nothing more except want money money and more money. He can shoot and scheme is way out of anything. The throwing of cards is a wonderful idea if one really understands spaghetti westerns. The score by bruno nicolai is incredible, it is one of his finest scores. The gunplay is awesome. That is the idea, Sartana is not supposed to get hurt. He is somewhat of a mystical figure, and this particular film has more humor than the ones in the rest of the series. I highly recommend it. Other titles in the sartana/series are I AM SARTANA YOUR ANGEL OF DEATH LIGHT THE FUSE SARTANA IS COMING and the first one IF YOU MEET SARTANA PRAY FOR YOUR DEATH.

This fourth entry based on the gunfighter Sartana is an entertaining SW with noisy action, shootouts and fun

Bemusing Spaghetti Western with Sartana as tough and stranger protagonist . Sartana is a fundamental archetype in Spaghetti genre as well as James Bond in spy-genre . Sartana ( Gianni Garco or John Garco ) is a freelance gunman who at the initiation of the film works as bounty killer . He’s an efficient gunslinger acting as judge , jury , and executioner . Sartana arrives in a small town called Indian Creek . He settles a dispute between a band who killed a prospector . Garco also acts as protector of a young heir ( Daniela Giordano) , nephew of the murdered prospector . It follows the seemingly endless adventures of Sartana in search of a cache of gold buried in a mine . Sartana confronts an ambitious banker (Antonio Vilar ) and a Chinese Gambling House owner ( George Wang ) who is always telling Confucio aphorisms .

The first movie on Sartana as avenger hero is by Frank Kramer (Gianfranco Parolini) interpreted by John Garco , besides it was starred by Klaus Kinski and William Berger . As always , the mythic personage appears elegant and dressed in black and with a killer look . After being continued by Alfonso Balcazar ( Sartana non perdona or Sonora ). Miles Deem directed two Sartanas which are considered as awful . Anthony Ascott(Giuliano Carmineo) realized several movies with George Hilton who replaces to Garco . Hilton plays more natural and roguish than Garco who was cold and peculiar . Garco starred various Sartanas with Carmineo as ¨¨Sartana the gravedigger'(69) , ¨Light the fuse Sartana is coming¨(71), among others. The movie has the typical Spaghetti characters , as the violent facing , greedy antiheroes, bloody and spectacular showdowns, quick zooms , extreme baddies, and musical score with Ennio Morricone influence , it’s composed and conducted by Bruno Nicolai, his usual collaborator who creates a fine and atmospheric score . In the picture there are the habituals Western’s secondary cast played by the customary plethora of Italian and Spanish actors as the androgynous Franco Ressell, Luis Induni, Robert Dellácqua , Rick Boyd and the Chinese resident in Italy George Wang and ordinary old man Franco Pesce playing his role as gravedigger . Furthermore, two Eurotrash goddesses, the babes named Helga Line and Daniela Giordano . The picture is well set in Elios Film Studios and Cinecitta, Rome and finely photographed by Stelvio Massi . The movie is regular but professionally crafted by Anthony Scott or Giuliano Carmineo and is pretty entertaining . A cult Spaghetti , essential for the genre lovers.

Typical, if not sub-par, Sartana entry

The first Sartana (1968), by Gianfranco Parolini, is such a dark and brooding spaghetti western gem, that I can’t help but wonder what could have happened to the rest of the Sartana entries in his, admittedly, more skillful hands.

Gianni Garko returns for the fourth time to play the titular black-clad anti-hero, after being replaced by the suave George Hilton for A Fistful of Lead. Garko is typically good as the amoral Sartana, in a plot that combines in typical Carnimeo fashion, mystery and action. After old prospector Benson is killed, several people try to get their hands on his land. Nuggets of gold, discovered in his burnt down shackle, suggest that the old prospector hit a motherlode. A corrupt banker and a Chinese saloon owner each will try to convince Benson’s niece, now the sole heir of the property, that the land is nothing but acres of sand and therefore worth nothing. Sartana, as usual, is out for himself and will try to play everyone. Of course, things are not always what they seem. There are enough twists and turns to keep things adequately interesting plot-wise.

But plot is barely the reason I love spags. It’s the pure style that I look forward, those little moments of pure cinematic gold scattered in the form of stylish shootouts, off-beat characters, weird angles and close-ups, and style-wise, there isn’t enough to go around here. The production seems kind of rushed, which probably was, given the low production values. With this being the 4th Sartana entry, everyone seems to be on autopilot by now, and Carnimeo just gets things over in a workmanlinke way. Which is why I wish Parolini would have worked on the sequels. Carnimeo, never an A-list name even by spaghetti standards, seems to be more of an employee instead of an artist, just getting things on budget and on schedule for the producers.

Anyhow, suffice to say there are lots of better spaghettis out there. If you’re a seasoned veteran, and need a quick spaghetti fix for a Sunday afternoon, Have a Good Funeral Amigo will do just fine. Just don’t expect anything mind-blowing.

• Year: 1949
• Released: 01 Jun 1949
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0041165/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_beautiful_blonde_from_bashful_bend
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: Approved
• Genre: Comedy, Western
• Runtime: 77 min
• Writer: Earl Felton, Preston Sturges
• Director: Preston Sturges
• Cast: Betty Grable, Cesar Romero, Rudy Vallee
• Keywords: saloon,

	6.0/10
	56% – Critics
	47% – Audience

The Beautiful Blonde from Bashful Bend Storyline

Saloon-bar singer Freddie gets very angry whenever boyfriend Blackie seems to be playing around. She always packs a six-shooter, so this is bad news for anything that happens to be in the way. As this is usually the local judge’s rear-end, Freddie and friend Conchita are soon hiding out teaching school in the middle of nowhere.—Jeremy Perkins {J-26}

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The Beautiful Blonde from Bashful Bend Movie Reviews

As Famous Flops Go, Not Bad

Zany, scattered and at times downright demented, it is perhaps not so terribly surprising this was considered such a disaster when it came out that it instantly vaporized Preston Sturges’ Hollywood career. I guess this sort of loose, free wheeling parody (and at times it has a Coen Brothers inspired kookiness about it) just wasn’t the sort of thing audiences took to in 1949.

That very looseness, that daffy unrehearsed quality can give one the impression that the film is simply not as good as it could’ve been, but my God it isn’t THAT bad. There are sparks of originality throughout and while it may never quite catch fire, this is still Sturges and still superior to a good number of tame, vanilla comedies that came out around this time.

It may not have been the case but it certainly looks like many of the actors were having a ball during filming, particularly Cesar Romero. Watch the one scene where he is quizzing some hayseed local about his sweetheart’s (Betty Grable) whereabouts. He can barely keep a straight face and happily lets this character actor steal the scene with a funny, one man “who’s on first?” routine. I thought Grable did a fine job as well and showed pretty fair comic timing, though I wonder if Sturges really wanted that other Betty (Hutton) for the role and couldn’t get her for some reason. Sturges may have allowed those two freaky brothers (one of whom is played by Sterling Holloway) to take things too far; I’m sure audiences at the time watched their crazed antics with stone faces. In fact, they’re not even recognizably human which may have been the point. I’m not sure.

An odd, not terribly satisfying movie, but watchable, never boring and with spurts of that famous snappy Sturges dialogue.

Not an awful lot of beauty sadly

‘The Beautiful Blonde from Bashful Bend’ could and should have been good. One does indeed expect quite a lot from Preston Sturges, whose prime period was one of the best of any director with particularly the likes of ‘The Lady Eve’, ‘The Miracle of Morgan’s Creek’, ‘Hail the Conquering Hero’ and my favourite of his ‘Sullivan’s Travels’. And from a cast that includes Betty Grable, Cesar Romero and Sterling Holloway.

It is unfortunate that instead ‘The Beautiful Blonde from Bashful Bend’ was a big disappointment, as an overall film and when you take into account what it had going for it. It is not difficult to see why it was considered a major disappointment with critics at the time, and it is especially a big disappointment by Sturges standards (being the film that was his career death knell somewhat, and of all of the films seen of his, which is nearly all, it does get my pick for his worst). Will agree though with others that ‘The Beautiful Blonde from Bashful Bend’ is not that awful or that it is that much of a catastrophe (so agree far more with its slightly improved over-time re-appraisal), but it is severely wanting in too many areas and is not a good representation really of all involved.

Despite the disappointment felt watching ‘The Beautiful Blonde from Bashful Bend’, there are things that make it watchable. The closest the film gets to being beautiful is the production values, with the truly lavish Technicolor, Sturges’ first Technicolor film on a side note, being the main reason to see it. The production design and photography are fabulous. The songs may not be exactly memorable, but they are fun and pleasant. Particularly “Every Time I Meet You”, which is charming and a welcome lighter moment. “In the Gloaming” is close behind.

A few funny moments here and there, though they are too far and between, particularly with Hugh Herbert and the fantastically nuts finale. The cast generally do well with what they have, with Grable particularly shining followed by suave Cesar Romero and wonderfully daffy Herbert. Margaret Hamilton is also amusing, who also bags one of the funnier moments at the start.

Sterling Holloway however was never more irritating than here, playing one of the Basserman Boys characters, characters so grating and unbearingly over-played that they very nearly single-handedly bring the film down. They don’t quite though because there are other things wrong. It is hard to believe that ‘The Beautiful Blonde from Bashful Bend’ is a Sturges film in direction and writing, his direction is very heavy-handed and suggestive that he was both not interested in the material and struggling to control it, attributes that are not like him at all. The script is little better, the wit, sharpness, bite, sophistication and cynical slyness are barely there and even less so the natural wackiness and daring, instead the dialogue and gags on the most part are far too vulgar, brash and over-time feel so stretched beyond the limit that much of the humour falls flat.

Few amusing and charming moments aside, the story has moments where it is far too slight and then there are other times where one really wishes that the film was longer and had a slower pace. Because much of it is too rushed and the mounting complications get increasingly absurd and confused and it becomes exhausting. The characters were either bland or irritating, and little more than caricatures. Most of the cast have far too little to do, Rudy Vallee especially is wasted.

Concluding, watchable but very underwhelming. 5/10 Bethany Cox

yes demented, yes vulgar

About 55 years ahead of its time and as rude and silly as if it were made today. It does have a very modern feel about it and shows really how staged other 40s films were. Occasionally when loose behavior and honest rudeness was allowed, or got through or whatever, the films looks and sounds like 2006 not 1949. Just like this one. It very funny and like an 80’s Zucker Bros western..or as someone else said here, very Coen Bros….anyway, as I was saying, modern, vulgar and silly. Later, in the late 50s similar cartoony western comedies like LI’L ABNER with censorship busting names (eg: Appollonia Von Climax) and characters appeared (Julie Newmar stepping from a rocket clad in almost nothing) and of course all of BLAZING SADDLES in the 70s. We are in that territory, folks.

• Year: 1999
• Released: 24 Jan 1999
• Country: Spain, United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0165905/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_long_kill
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: R
• Genre: Western
• Runtime: 96 min
• Writer: Gene Quintano
• Director: Bill Corcoran
• Cast: Willie Nelson, Kris Kristofferson, Chad Willett
• Keywords:

5.6/10

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Mellowed Out Outlaws

Country singing legends Willie Nelson, Kris Kristofferson, and Travis Tritt form their own posse to go after Sancho Gracia who has killed one of their friends, Waylon Jennings. Even though Tritt is a sheriff now and the other two are kind of mellowed out outlaws, they all ride to get even for Jennings and administer their own brand of Outlaw Justice.

I found elements of such big screen western classics as The Searchers, Ride the High Country and Valdez is Coming all mixed in with the plot structure of Outlaw Justice. All of these guys do fine jobs and create some interesting characters. But the holes in the story as well as the lack of credible motivation for some characters leave Outlaw Justice really lacking.

Paella/US Western about some gunslingers who seek avenge against heinous killers

Two aging super-quick gunfighters (Nelson, Kristofferson) re-form their old bunch to revenge the killing of one of the previous members . Spaghetti Western co-production between US-Spain filmed of course in Almeria .¨The long kill¨ also titled ¨Outlaw Justice¨ is an acceptable Spanish/USA co-production with passable writing by Gene Quintano and Imanol Uribe ; displaying a slick direction by William J Corcoran . This exciting Western is packed with noisy action and lots of violence . The movie contains gun-play, action Western , bloody spectacle and fist-fights . Starred by a diverse casting as the good guys are performed by American actors and the bad guys acted by Spanish players as Simon Andreu , Sancho Gracia and Tony Isbert . It’s an offbeat , thrilling and uneven Western particularly influenced by Sergio Leone , for that reason it will appeal to Spaghetti aficionados . American-Spanish co-production financed by Enrique Cerezo full of action , exaggerated characters, shootouts and drama . This is a surprisingly low-key Spaghetti Western set in the post-Civil War era in which some washed-out gunslingers (Kris Kristofferson , Willie Nelson) meet up with buddy (Waylon Jennings)’s son (Chad Willett) and join forces with a sheriff named Dalton (Tritt Travis ) and taking on a variety of problems and risks with the aim to get revenge . The gang find numerous complications when the baddies (Sancho Gracia , Tony Isbert) steal a bank and they are accused and detained. But they escape and go to Cottonwood .

This entertaining picture contains action Western , riding pursuits , shootouts and bits of campy and refreshing events with turns and twists , though contains a silly ending , including nonsense crossfire among contenders . It’s an improbable blending of standard Western , there’s a Spaghetti’s homage , with pursuits, high body-count and it’s fast moving and quite entertaining. An interesting casting formed by Country Western singers and full of American actors as Kristofferson , Nelson , Jonathan Banks along with Spanish players as Simon Andreu , Sancho Gracia , Leonor Watling , May Heatherly , Aldo Sambrell and Marina Saura ; all of them make this oater well worth the watching . Delightful Western in which two aging gunfighters helped by other buddies unite forces in order to avenge the death of their old partner . Using his wits , breaking all the rules and kicking virtually every cliché in the pants realize a killing spree , as they relentlessly rob and murder by means of some spectacular showdowns in operatic style . Amiable but sometimes lumbering Western goes on and on about the same premise , as minutes are superfluous , it has quarter hour of excess , as it packs some moments turn out to be dull and tiring . There is plenty of action and lots of stunts in the movie , guaranteeing shot’em up, fights or stunts every few minutes . The film bears remarkable resemblance to ¨Dollars for the dead (1998)¨ realized at the same time and in similar ink by Gene Quintano with same producer , screenwriter , exteriors and some actors . The musician Jay Gruska composes a nice soundtrack with catching leitmotif and well conducted ; it’s full of emotive songs and enjoyable sounds fitting to action. Striking cinematography by Federico Ribes with barren outdoors, dirty landscapes under a glimmer sun, and outdoor sequences shot on Las Tabernas, Almería, Andalucía, Spain .

Bill Corcoran’s direction is well crafted , here he’s more cynical and violent and packs too much action , but especially this moving Western contains broad violence and long shootouts . He is an expert TV director , being his specialty sci-fi genre as ¨Left behind II : tribulation force , Vipers , Rise of gargoyles , Atomic twister ¨ and usual episodes filmmaker of known series as ¨Stargate , Hope island , Mutant x , Kung Fu , McGiver ¨ among others . Rating : 5,5, riotous Western in which there’s too action and violence and enough excitement .

Watchable Western

Bill Corcoran’s film OUTLAW JUSTICE aka THE LONG KILL lacks the style of Sergio Leone, the spectacle of John Ford, or the rawness of Sam Peckinpah, but Bill Corcoran’s film is nevertheless entertaining and reflects the work of all these fine directors. Co-stars Willie Nelson and Kris Kristofferson, who play former fugitive outlaws – Lee and Tarence, are getting a bit gray around the gills, and at times greatly stretch the view’s ability to suspend disbelief that these two old age pensioners can be the two fisted brawling outlaws they portray, but the actors’charisma, mutual chemistry, empathy for the characters, and some self deprecating humor combine to help them pull off the performances. Country singer Travis Tritt turns in a surprisingly decent performance as Dalton – Willie and Kris’ former cohort turned good guy lawman. The late great Waylon Jennings delivers a short but sweet performance as Tobey, another of Willie and Kris’ former gang members who’s murdered early in the film but resurfaces to deliver voiceovers in scenes where his estranged son learns about his murdered father through a diary. The film suffers from poorly played two dimensional villains (Sancho Garcia as Holden is especially stiff), big plot holes * *spoiler **(exactly why does Colonel Lupo want to capture Lee and Tarence so bad that’s he’s willing to pay a reward to a man he hates equally as much – Holden – and then let the two go?), well worn clichés, stereotyped characters and certainly doesn’t break any new ground in the genre, but for the stars’ fans and anyone who enjoys westerns – it is entirely watchable. I gave it a 6 out 10.

• Year: 2023
• Released: 03 Sep 2023
• Country: United States
• Adwords: 5 wins & 7 nominations
• IMDb: https://www.imdb.com/title/tt23647954/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/far_haven
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: N/A
• Genre: Western
• Runtime: min
• Writer: Dustin Rikert, William Shockley
• Director: Gary Wheeler
• Cast: Bailey Chase, Amanda Righetti, Bruce Boxleitner
• Keywords:

	5.3/10
	57% – Critics
	57% – Audience

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Well, if you have problems sleeping…

Granted, while I am not overly fond of Western movies in general, I do sit down every now and again to watch one, when I happen to stumble upon one. And thus, I sat down to watch the 2023 Western “Far Haven” from writers Dustin Rikert and William Shockley, as I happened to have the opportunity to watch it here in 2024.

Sure, I had never heard about “Far Haven”, so I wasn’t really sure what I was in for, aside from it being a Western movie. However, I have to say that the narrative in the movie was so slow paced and sluggish that the movie never had a chance. The pacing of the narrative was sleep-inducing, and I have to admit that I ended up giving up on the movie 52 minutes into the 101 minute runtime. I just wasn’t entertained at all.

And it didn’t help the boring narrative that the characters were about as interesting as watching grass grow. The writers really botched this one.

There were a couple of familiar faces on the cast list, with the likes of A Martinez, Martin Kove and Chris Mulkey. The acting performances were fair enough, despite the fact that the actors and actresses virtually had nothing to work with in terms of script, storyline and character gallery.

If you enjoy Westerns, then perhaps you might find something enjoyable to “Far Haven”. But I sat down to watch it as a casual viewer, and not as a fan of the Western genre, so I found little of any worth in this movie. And I am not returning to attempt finish watching the movie, because I wasn’t entertained by the storyline, or lack thereof, nor did I take a liking to any of the one-dimensional characters.

My rating of director Gary Wheeler’s 2023 Western “Far Haven” lands on a two out of ten stars.

No idea why this film is rated this highly!

It felt like a Hallmark version of a western with not much of a script. The acting is barely there. The writing is nonexistent. You can easily figure out where the plot is heading; there’s no mystery. Not a single curse word used I believe. There’s no tension. Nothing to make me want to stay invested in the movie which I found myself almost falling asleep through several times. I can only imagine that this movie appeals to a certain group of people that it’s aimed towards. Once again, no cursing, no sex and no nudity. The movie overall has almost a religious overtone. You have been warned! I wished I could reclaim the lost time I spent watching this thing.

• Year: 1955
• Released: 28 Oct 1955
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0048336/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/a_man_alone
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: Approved
• Genre: Western
• Runtime: 96 min
• Writer: John Tucker Battle, Mort Briskin
• Director: Ray Milland
• Cast: Ray Milland, Mary Murphy, Ward Bond
• Keywords: murder, stagecoach robbery, gunfighter,

6.4/10

A Man Alone Storyline

A gunfighter, stranded in the desert, comes across the aftermath of a stage robbery, in which all the passengers were killed. He takes one of the horses to ride to town to report the massacre, but finds himself accused of it. He also finds himself accused of the murder of the local banker, and winds up hiding in the basement of a house where the local sheriff, who is very sick, lives with his daughter.—frankfob2@yahoo.com

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A Bad Reputation

Notorious gunman Ray Milland comes upon the scene of a stagecoach massacre. Outlaws had robbed the stage and killed six people, including a mother and child. Milland frees the horses and rides one of them into town for help during a sandstorm.

The sheriff is laid up and a lout of a deputy, Alan Hale Jr., comes at Milland gun in hand without identifying himself. Milland starts shooting and wounds the deputy. After that it’s a hunt for Milland in the town.

Of course he takes refuge in the one place no one is going to look, the house of the sheriff, Ward Bond and his daughter Mary Murphy. The house is under quarantine because Bond is down with yellow fever.

Milland helps Murphy nurse Bond back to health. During which news of the stagecoach massacre reaches town. And the hunt is renewed.

Milland gives a fine performance in this very grim western of a man on the run, mostly due to his bad reputation. Ray Milland also directed this film for Republic Pictures in its last days. Director Milland got some good performances out of such in the cast as Raymond Burr, Lee Van Cleef, Arthur Space, and Thomas Brown Henry.

A Man Alone has similar plot premises to both The Oxbow Incident and John Payne’s Silver Lode that came out the year before. All three had to do with the terrible consequences of mob violence when due process is abandoned. Very telling stuff indeed coming out as it did at the tail end of the McCarthy era.

The film holds up very well after over 50 years and is recommended for western and other movie fans.

Ray Milland and Mary Murphy

First time director Ray Milland must have scored a success with this psychological Western typical of the 1950s, as he went on to both direct and star in four more features- 1956’s “Lisbon,” 1958’s “The Safecracker,” 1962’s “Panic in Year Zero!” and 1967’s “Hostile Witness.” In the role of Wesley Steele, a gunman of ill repute, having to kill simply to survive, director Milland begins the film with nearly a half hour without (much) dialogue. Steele discovers a massacred stagecoach, five people shot dead (including a little girl), all the money gone. He soon finds himself in a most unfriendly town, where the hapless deputy (Alan Hale Jr.) prefers to shoot first and ask questions later; incredibly, the safest place for Steele to hide from a possible lynching turns out to be the Sheriff’s quarantined home, due to his being bedridden with yellow fever. Lovely Mary Murphy, Marlon Brando’s leading lady in “The Wild One,” is entrusted with the most difficult role, the Sheriff’s daughter, who naturally falls for the much older Steele, and capably manages the feat of growing up from ‘daddy’s little girl’ to feisty heroine, inspiring Wes to return to clear his name, and redeeming her own father (Ward Bond), who had fallen under the crooked influence of town banker and criminal mastermind Raymond Burr. You can’t go wrong with a supporting cast that includes Lee Van Cleef, Douglas Spencer, Thomas Browne Henry, and Arthur Space. Unfortunately for Mary Murphy, her screen career wound down all too quickly, though television kept her busy for another two decades. Horror/sci fi buffs remember her turns in 1951’s “When Worlds Collide,” 1954’s “The Mad Magician,” and 1957’s “The Electronic Monster.”

Ray Milland is – A Man Alone!

Wes Steele is a gunman, his reputation follows him where ever he goes. Then one day he happens upon a dreadful scene, a stagecoach has been attacked and five people have been murdered, including a woman and a child. This sickens Steele who takes up a horse and rides to the nearest town with the best intentions, but no sooner is he there, he quickly becomes a target for blame and hostility. Taking refuge at the home of yellow fever struck Sheriff Gil Corrigan and his daughter Nadine, Steele proves to have a tender side as he helps to aid the ailing sheriff. But an angry mob is out for Steele’s neck and when Gil comes around, will he believe that Steele is not responsible for the recent turn of events?

Ray Milland’s westerns are a mixed bunch, ranging from the mundane (Bugles in the Afternoon), the watchable (California) to the very good – here with A Man Alone. Making his directorial debut, star Milland has managed to craft a genuine mood piece out of a well trodden, and often filmed, story. Milland, utilising his silent feature experience, sets the disquiet tone within the first quarter, where as he comes upon the horror scene, it’s played out without dialogue, the mood is set for the next part of the journey, the town.

This is an ugly town, corruption and underhand tactics are the order of the day, so much so that when Steele blows into town (literally during a sandstorm) one would think that with his reputation, it would be ideal for him. But things can quickly turn around. Thanks to Milland’s portrayal of Steele, it’s apparent to us that Steele is weary of the life he has led, his yearning to cast off his burdens evident as his relationship with the Corrigan’s starts to blossom. Yet it’s funny how quick the milk can turn sour, because seemingly normal people can become a mob, an angry mob intent on justice regardless of the truth. For here there is no truth as the lies have been cast and mud nearly always sticks…

Milland is aided in the cast by the always solid Ward Bond (Gil), Raymond Burr (purple suited and black eyed nastiness as town villain Stanley), Lee Van Cleef (Stanley’s thug muscle Clanton) and Mary Murphy (bright eyed and bushy tailed Nadine). Shot on location at Snow Canyon in Utah, it’s a shame that location work is very much sparse because of the town set plot. However, in a film calling for an oppressive and pot boiling feel, this is something that is easily forgivable. A Man Alone is a very good Western, yes the story has been done far better (re: The Ox Bow Incident for example), but Milland’s film deserves your time, and hopefully come the end, also your respect. 7.5/10