Quigley Down Under (1990)

quigley_down_underWorking regularly since the 1970’s, Tom Selleck has had plenty of success on TV, including Magnum PI, Blue Bloods and the Jesse Stone movies, not to mention recurring roles on several other series. He’s been a staple in the western genre too, especially a handful of memorable TV movies. One of his best though was released theatrically in 1990 and has been a fan favorite ever since, Quigley Down Under.

An American marksman who’s gained a reputation with his modified Sharps rifle, Matthew Quigley (Selleck) is traveling to Australia in search of a job. An Australian rancher, Elliott Marston (Alan Rickman), has searched around the world for the best long-range marksmen for a job, and he thinks he’s found his man in Quigley. The job? It’s not as advertised. Marston is having a problem with the natives with the Aborigines in the area killing his cattle. They’ve learned to avoid his men and their rifles though. In steps Quigley hopefully, picking them off from long-range. Quigley isn’t having it though and is double-crossed by Marston and his men. Along with a crazy woman, Cora (Laura San Giacomo), Quigley is left for dead in the Australian outback. Can they survive? Can they exact revenge on Marston in the process?

I learned something while researching this movie. This 1990 flick from director Simon Wincer (Lonesome Dove) is known as a “neo-western.” It’s far from your typical western, obviously doesn’t take place in America, and is made with almost an entirely Australian cast. Whatever you wanna call it or classify it as, know this. It’s very good. It was filmed on-location in Australia and looks amazing. Wincer pairs again with composer Basil Poledouris again after their success with Lonesome Dove, and the result is a great, memorable score. It sounds part Lonesome Dove, part The Son of Katie Elder. Give it an extended listen HERE.

‘Quigley’ was in the works since the late 1970’s with Steve McQueen (can you imagine that?!?), Clint Eastwood and Harrison Ford all considered for the part. It ultimately went to Selleck, and that’s just fine! Selleck looks like a cowboy. He acts like one. He sounds like one. I love his Quigley character because it is so fish out of water, and you don’t often see that with the archetypal western hero. Usually those stories take place in…well, the American west. He’s got an imposing presence and brings a calming energy to the proceedings. No matter what gets thrown at him — a lot gets thrown at him — Quigley rolls with the punches. He’s a man of his word and expects others to do so too. A great character to lead the way.

Fresh off the immense success of Die Hard, Rickman is a scene-stealer as Marston. If anything, he’s underused. Marston is fascinated by the American west, making himself into a fast draw artist and is like an adoring fan when he meets Quigley. And let’s get right to it. That voice….that voice. I’d listen to the man read the phone book. San Giacomo is good as Crazy Cora, but the character is a little overdone at times. Her backstory is fascinating and her chemistry with Selleck is excellent, but it gets laid on a little thick at times. Some of Marston’s men include Tony Bonner, Jerome Ehlers and a very young Ben Mendelsohn. Chris Haywood plays Ashley-Pitt, a British officer hunting deserters who has a history with Marston.

At 119 minutes, ‘Quigley’ drags a little in the middle portions. It drifts at times, all with an eye of where it needs to get. More of a character study than an action movie, there is more action in the last hour as Quigley and his Sharps rifle go to work on Marston’s empire. With Poledouris’ music, the outback backdrop and Selleck’s star power, there are some moments of pure perfection. The final showdown? A perfect twist that’s delivered in a great fast draw shootout.

Just a good western. Unique but nothing crazy, it’s a must-watch for Selleck and western fans.

Quigley Down Under (1990): ***/****

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Four Guns to the Border

fourgunsposWhen a B-movie is bad, it can be really bad as its smallish budget and production value takes a toll. When it’s good though? You feel like you’ve stumbled into a hidden gem. That’s the case with 1954’s Four Guns to the Border, a snappy, fun little western based off a Louis L’Amour novel.

After a botched robbery results in nothing more than an empty safe that was supposed to be packed to the seams, a bandit named Cully (Rory Calhoun) and his gang ride out into the desert to plan their next move. Cully has an idea, but it is a desperate one. He’ll ride into the town of Cholla, a town he used to live in before he was run out of town by his friend-turned-marshal, Jim Flannery (Charles Drake). While he causes a distraction, his men will take advantage and rob the bank. That’s the plan at least. Cully and his gang come across an aging gunslinger (Walter Brennan) and his beautiful young daughter, Lolly (Colleen Miller), who has eyes for Cully. With an Apache war party in the area, everything is up for grabs.

There are hundreds and thousands of westerns out there in Movie Land just waiting to be found. Long story short? I’ll give any western a try. Flicks like this from actor-turned-director Richard Carlson are a welcome find. It’s the perfect example of a quality B-western. Small scale and small budget with a manageable cast, a straightforward story, some lovey-dovey for the ladies, and enough action to keep things moving. At just 83 minutes, ‘Guns’ drifts a little bit in the third act, but it’s fun from beginning to end. It never overstays its welcome and is a western I can highly recommend. Definitely track this one down.

I grew up reading Louis L’Amour westerns, and I still circle back every so often and give one a read. They’re like comfort food; familiar, always good and you always come back for more. There’s a formula too, one which ‘Guns’ follows along with. L’Amour’s anti-heroes — bandits, cowboys, drifters — were never that bad. When push comes to shove, they almost always made the right decisions — their bad guy-ness be damned. Throw in a gang of an old guy, a young firebrand and typically a minority, a pretty girl who has no business being on her own, some nameless, easily dispatched villains, and you’ve got a good mix!

Calhoun is an underrated gem in a variety of tough guy genres, especially the western. He was never a huge star, but he was always a welcome presence when I see his name pop up in a cast. I like his Cully, a tough, quiet, no-nonsense outlaw trying to outrun his past (and eventually get even). His gang is pure L’Amour, including Dutch (John McIntire), the old-timer looking for some $ to start a ranch, Bronco (George Nader), the young, fun-loving fast draw, and Yaqui (Jay Silverheels), the Indian tracker. These aren’t the dark, blood-lust bandits of so many later westerns. This is a likable bunch who I found myself rooting for. And let’s be honest…it’s cool to see Lone Ranger sidekick Tonto in a quasi-bad guy part!

Now for the interesting almost pornographic portion of our review! I’d never seen the very lovely Colleen Miller before in a movie, but….well, let’s say this is a pretty memorable turn. She’s a pretty decent actress, miles ahead of many pretty faces cast in B-movies! Carlson and the script call for some…I’ll say “Interesting” situations. Knocked out with a hit to the head, she gets a bucket of water poured on her, but Brennan misses her head and gets her shirt (a lot). She also flashes some leg getting into a dress, has a candy cane while the men ogle her, and runs out to the barn in a rainstorm while wearing a white nightgown. Not a complaint — she’s gorgeous — but the studio was clearly appealing to its male audience.

Also look for Nina Foch as Flannery’s wife, a woman who clearly has some history with Cully (uh-oh, unspoken love triangle!), and Nestor Paiva as Greasy, the owner of a saloon/store in the desert with some ties to our almost heroic outlaws.

I give ‘Guns’ credit. It’s pretty straightforward stuff, but it is also pretty unique. There’s some good twists and turns along the way in a story that doesn’t seem too familiar. I especially liked the twist about an hour into the movie as the gang makes a heroic decision. The ending itself could have been a whopper of a downer if Carlson wanted…but it’s 1954 America, not 1968 Italy in a spaghetti western. Still, it’s an excellent, generally little-known western. Well worth tracking down.

Four Guns to the Border (1954): ***/****

The Deadly Trackers (1973)

the_deadly_trackersTwo actors who were stars but never quite superstars, Richard Harris and Rod Taylor are two of my favorites. Both did a wide variety of films, but they always seemed most at home in good, old-fashioned guy’s guys movies, westerns, war movies, science fiction stories. A pairing of the duo has to be worthwhile, right? Let’s see with 1973’s The Deadly Trackers.

As the sheriff of the border town of Santa Rosa, Sean Kilpatrick (Harris) goes about his job in unique fashion. Never wearing a gun, he insists on bringing prisoners in for justice, not just shooting them on the spot. That strategy works when a gang led by murdering outlaw Frank Brand (Taylor) tries to rob the bank only to get cornered by the townspeople. Brand desperately threatens to kill a little boy, Kilpatrick’s son. In the ensuing chaos, both the boy and Kilpatrick’s wife are killed as Brand his gang escape. Vowing revenge on the men, Kilpatrick pursues the gang into Mexico, ignoring his beliefs of law and order. Always close behind Brand and his men, the revenge-seeking sheriff keeps running across a Mexican federale, Gutierrez (Al Letierri), who insists on bringing Brand in the right way, the lawful way. Kilpatrick obviously has other plans…

This little-known western was apparently beset by an avalanche of production issues. Based off a short story from Samuel Fuller, it originally had Fuller as a director with Harris and Bo Hopkins co-starring. Production started but was quickly halted to revamp…well, everything. The studio basically half-assed it from there, even borrowing portions of the musical score from 1969’s The Wild Bunch. To show you how bizarre things got, the opening credits are still frames with voiceover narration, but they look like the camera shot through a thick blanket. What happened to the footage? Apparently there was a mishap sometime after filming but before editing. You couldn’t make it up if you tried.

Ultimately, the production issues aren’t deal-breakers. Instead, it’s just the general tone of ‘Trackers’ that provides its undoing. Far from a bad movie, this is just too morbidly, cynically brutal and dark. Like so many revisionist westerns of the 1970’s, ‘Trackers’ is interested in a more honest look at the wild west. It’s bloody, sweaty, dirty and death never seems far away. There are no sympathetic characters, and it is only a matter of time before our cast of characters starts getting knocked off in gruesome fashion — scalping, trampled by horses, shot in the face, quicksand, gunned down by a flurry of shots, both blasts of a shotgun, stabbing…you get the idea — in this blood-soaked revenge western. It’s a movie in the vein of The Hunting Party, Soldier Blue, Lawman (actually pretty good), Ulzana’s Raid (also very good) and Chato’s Land but a little too uneven to be considered genuinely good.

The two leads deliver interesting performances, easily the highlight of the movie. Harris’ Kilpatrick has quite the character arc from law-and-order lawman to revenge-seeking, unhinged killer. It’s a physical performance, an intimidating performance. Not a ton of lines, just a man obsessed with the thought of brutally bringing his family’s killers to justice. Taylor plays against type in a big way — easily his most villainous, disturbing part — as Frank Brand, an outlaw and murderer who doesn’t think twice before shooting someone. Similarly unhinged, he’s an ex-Confederate soldier and a racist to boot! A villain you definitely love to hate.

In a supporting part, Lettieri gives one of his best performances, a subdued part as Gutierrez, a law-abiding peace officer who stands by his convictions through thick and thin. His conversations with Harris to provide some of the movie’s best-written scenes. As for Brand’s gang, look for Neville Brand as Choo-Choo, a bandit with part of a railroad rail for a hand (it’s kinda explained), Paul Benjamin as Jacob, a soft-spoken, educated gambler, and William Smith as Schoolboy, a mentally challenged killer with the mind of a child. Also look for Isela Vega as Brand’s former lover, Pedro Armendariz Jr. as a well-meaning blacksmith and William Bryant as one of Kilpatrick’s deputies.

Revenge stories are a staple of the western genre. A couple of those revisionist westerns I listed above are based solely on the revenge factor. Though I loved the cast here, I didn’t fall hard for the movie. You’re rooting more to see who gets killed and in what gruesome fashion. There’s not a ton of energy in the process in a rather slow-moving 110-minute movie. It’s never a good sign when horrific amounts of violence — oh, look! He’s getting scalped! — breaks up the relative monotony.

One of the most redeeming qualities in ‘Trackers’ is the filming locations in Mexico. Any western fans will see some familiar sites, including locations you would have seen in Major Dundee, The Wrath of God, Vera Cruz and (I think) Butch Cassidy and the Sundance Kid. Some of the ruins, the dusty villages, the rocky vistas, it all adds a very cool feeling of realism and authenticity. You believe the sweat you see pop up on foreheads. A mixed bag in the end. Worth a watch but keep expectations measured. The cast alone is enough to bring many viewers in.

The Deadly Trackers (1973): ** 1/2 /****

The Man Who Shot Liberty Valance

the_man_who_shot_liberty_valanceAsk a western fan what John Ford movie is his favorite, and you’ll get any number of answers. Rightfully so too, Ford directing gem after gem. My personal favorite is 1948’s She Wore a Yellow Ribbon. Ford’s tone shifted later in his career though, portraying the American west in a more realistic, negative view. I’d say more honest. Movies like The Searchers, Two Rode Together, Sergeant Rutledge, and of course, 1962’s The Man Who Shot Liberty Valance, all dug deeper, portraying a west unlike we’d seen in the director’s previous efforts.

A lawyer from the East, Ransom Stoddard (James Stewart) is on a stagecoach heading to the town of Shinbone in a western territory when the coach is attacked by an infamous bandit, Liberty Valance (Lee Marvin), and his gang. Stoddard is savagely beaten but nursed back to health in Shinbone. It is turbulent times in the budding town and territory with a potential push for statehood on the line. Stoddard becomes a key person in the fight, all the way trying to figure out what life in the west is like. Valance constantly berates the lawyer, but a small rancher who’s fast with a gun, Tom Doniphon (John Wayne), always seems to be in the right place at the right time. With so much on the line for so many people, Stoddard must decide how far he wants to push his luck.

By all accounts, ‘Liberty Valance’ is the anti-John Ford western. Shot in black and white on the Hollywood backlot, there are no sweeping vistas, no majestic shots of riders on the horizon. Instead, this is a story about the people, their relationships and the turbulent times they find themselves in. There’s little in the way of gunplay/gunfights. It’s just not your typical western, but it is a film that’s firing on all cylinders. A classic that deserves its reputation.

Never a bad thing when two Hollywood legends star together. They were in How the West Was Won together but had no scenes together. They were excellent together in several great scenes in The Shootist. What’s so cool here is the dynamic. Both Ransom and Tom believe in the same things, just different ways of accomplishing those things. I love Stewart’s Ransom and the character arc he goes through. It’s a fascinating character. He hates guns, hate violence and abhors bullies. He sees Tom’s ways of doing things and can’t get on-board with it…until he does. Not your typical western hero — by a long shot — but one that brings a great, unique edge to a familiar genre.

Ford and Wayne go together like peanut butter and jelly, albeit PB that’s abusive to the J. Wayne did some of his best work in Ford films — especially She Wore a Yellow Ribbon and The Searchers — but Ford was infamous for railing on his star non-stop. So was the case here as Ford picked on Wayne mercilessly. Well…it worked. This is one of Wayne’s more underrated parts. His Tom Doniphon is a bit of a bully himself, constantly calling Ransom ‘Pilgrim,’ but he’s a small rancher who’s well-respected (even feared) and is lightning quick with a gun. Like Ethan Edwards in The Searchers, Doniphon is a tragic character here too, an arc that all comes together in a fitting, moving and at times, tough to watch conclusion. Kudos to the two Hollywood greats.

Easily one of Ford’s strongest casts from top to bottom. Vera Miles is Hallie, the uneducated waitress who’s drawn to both Tom and Ransom (oh no! A love triangle!), avoiding plenty of awkward pratfalls. Marvin is terrifyingly perfect as Liberty, an unhinged psycho capable of all sorts of violence. Edmond O’Brien hams it up and steals his scenes as alcoholic newspaper editor Dutton Peabody. Andy Devine is the cowardly sheriff because of course he is. Gotta mention Woody Strode who in subtle fashion steals his scenes (as he usually did) as Pompey, Tom’s “man,” almost a right-hand man kind of deal, not a slave but always at his side.

Also look for John Carradine, Denver Pyle, Lee Van Cleef, Strother Martin, Jeanette Nolan, John Qualen and plenty more familiar faces to round out the cast.

Earlier in his career, Ford’s films tended to have a broad, obvious sense of humor that bordered on too much (and sometimes was just way too much). His later films lost that innocence. Sure, Devine gets some laughs, but it’s far more subtle. There’s a darkness here that hangs in the air. It’s always building to that inevitable showdown, but even there, a twist is revealed in a lightning-quick noir-esque flashback that’s beyond perfect. There is an edge, a violence, a meanness (especially in Valance) that brings the movie up a notch. The black and white filming goes a long way toward aiding the cause in that department.

‘Valance’ is famous for one of the best lines in western history. Simpy put, it’s “When the legend becomes fact, print the legend.” The story is held with a framing device that adds some additional layers to the story. I won’t spoil it here, but it works on basically all levels. Some great storytelling from beginning to end as we try to piece it all together as an audience.

I can’t say enough about this western. It’s not your typical Ford western, not even your typical western in general. It had been years since I watched it, and I loved catching back up with it. I came away very impressed with Stewart’s performance this time. There’s a moment late where he’s simply a man who’s had enough. He’s been pushed too far. If he has to die righting a wrong, his Ransom Stoddard — educated to the bone — is ready to pick up a gun and die for it. The end result propels the last 25 minutes of the movie to a highly memorable finale. Go watch this one.

The Man Who Shot Liberty Valance (1962): ****/****

 

Winchester ’73

winchester_73_-_1950-_posterIf you’re a fan of western movies and American history in the west in general, two firearms come to mind as the most iconic of the era. First? The Colt .45, a six-shot revolver made famous by gunfighters and cowboys. The second? The Winchester 1873 model, a repeating rifle that earned the nickname ‘the gun that won the west.’ The iconic rifle gets a starring role in an excellent western from 1950, Winchester ’73.

 

It’s July 4, 1876 in Dodge City with the town hosting a shooting contest bringing riflemen from all over the country. The prize? A so-called perfect Winchester rifle, dubbed the one in a 1,000 rifle. Among the competitors is Lin McAdam (James Stewart), a rancher/cowboy who’s a deadshot with a rifle. He wins via tiebreaker against a man from his past, Dutch Henry Brown (Stephen McNally), but Dutch isn’t having it. He and two fellow gunfighters rob Lin of the prized rifle, racing out into the desert. Lin and his partner, High Spade Frankie Wilson (Millard Mitchell), aren’t far behind. In the aftermath of the massacre at the Little Bighorn, reports of Indians on the warpath are escalating. Can Lin and High Spade track down the man and the gun while still keeping their hair?

John Wayne had John Ford, Randolph Scott had Budd Boetticher, and James Stewart had Anthony Mann. The star-director combo team here for the first of five movies they would make together (6 if you add The Glenn Miller Story), and it’s a gem. I’d have to go back and rewatch all five, but this definitely belongs up at the top. At 92 minutes, it is an episodic story with an ensemble cast that moves along at a quick pace. There is almost the feel of a TV show with 15 or 20-minute segments as the prized rifle finds itself in new hand one after another. How though? That’s the fun. The Winchester ends up being a star, jumping from person to person with some bad luck, greed, violence, betrayals and some blood dotting the way.

 

Stewart rarely gets the credit he deserves in the western genre. Other than The Man Who Shot Liberty Valance, he didn’t star in a classic western. This movie is close, as is The Naked Spur, and there’s a handful that are really, really good. My point? He plays a great anti-hero of sorts, although here he’s in more typical hero mode. His Lin — for lack of a better description — is a good dude, if a touch obsessed with exacting some revenge. His backstory is familiar but well-handled and feels a good twist. It’s leisurely revealed, but it’s Jimmy Stewart. You know he’s a good guy. His chemistry with Mitchell’s High Spade is excellent too, two driven cowboys who are stubborn, loyal and sturdy.

 

What appealed to me is that Mann’s film uses a whole bunch of genre conventions (you could say stereotypes) but manages to breathe some new, fresh life into it. Case in point is the cast, with the revenge-seeking cowboy, the saloon hall girl with a heart of gold, the unhinged gunfighter, the loyal sidekick and so many more. Everyone gets almost equal screen-time throughout. Look for Shelley Winters as Lola, the saloon girl, Dan Duryea as Waco Johnny Dean, a psychotic gunfighter, McNally as Dutch Henry, Charles Drake as Steve Miller, Lola’s fiance, John McIntire as gunrunner Joe Lamont, Will Geer as Marshal Wyatt Earp, J.C. Flippen as a cavalry sergeant and a young Rock Hudson as an Indian chief.

 

Also look for Tony Curtis and James Best as young cavalry troopers, Steve Brodie and James Millican as members of Dutch’s gang, and John Wayne stuntman Chuck Roberson late as a potential bank robber. Familiar face Ray Teal has a shadow-marked supporting part as a marshal leading a posse.

 

Winchester’ covers a fair amount of mileage in its brisk 92-minute running time. The early shootout is a highlight, but there’s also a manipulative gunrunner, an Indian attack on a cavalry patrol, a posse chasing bandits, a bank robbery, a not forced (thankfully) love story, and a genuine good twist late. Filmed in black and white, ‘Winchester’ has an almost artsy look — plenty of shadow and silhouette, almost a noir western — and definitely capitalizes on the Arizona shooting locations, including Old Tucson.

Held in high regard by many, ‘Winchester’ still doesn’t get the classic attention it probably should. It’s a great western, entertaining with some action but also well-written and well-executed. Highly recommended.

Winchester ’73 (1950): *** 1/2 /****

Stagecoach (1966)

poster_of_the_movie_stagecoachOh, no. Here we are again. The unnecessary….remake!!! Considered by most to be one of the best westerns ever made, 1939’s Stagecoach is a key film that helped lay out a foundation for a whole type of western, not to mention helping skyrocket John Wayne to stardom. It’s one of those movies that doesn’t really need to be remade, retouched, reboot and re-anything. There just isn’t much to improve on. That said, Hollywood seems to take that as a challenge. A TV remake was released in 1986, but that’s looking ahead too much. Today’s flick is 1966’s Stagecoach.

In the town of Dry Rock, several undesirables are being booted out of town for different reasons, including Dallas (Ann-Margret), a dance hall girl, and Doc Boone (Bing Crosby), an alcoholic doctor with some debts. Sioux warriors have been reported on the warpath — including a massacre of a small company of cavalry fixing the telegraph line — so travel isn’t encouraged, but Dallas, Doc Boone and several other passengers desperately need to get up the trail to Cheyenne. Hoping to thread the needle, eight desperate people board a stagecoach. They’re in for a surprise on the trail, meeting the Ringo Kid (Alex Cord), an escaped convict looking for revenge. Ringo has his reasons though, and another gun on-board couldn’t hurt. Can the coach make it through unscathed?

So let’s get this out of the way. There’s no need to remake the original Stagecoach. Can you tweak some things? Update story devices to be more current, more modern? Throw an interesting ensemble together? Sure to all three questions. But do you need to? No, not really. From director Gordon Douglas, this 1966 version is a pretty decent movie. The cast is solid, the filming locations gorgeous, and the story itself works. There’s a reason the basic premise worked so well in the original. We’re talking life and death in the wild west. It’s hard to mess that up. This remake is good because the script/story is good, and little else. It will feel familiar and comfortable but not necessary in the least.

The biggest changes? The story breathes a little bit more, clocking in at 115 minutes to the original’s 99 minutes. The additional 16 minutes doesn’t add much unfortunately. More talking, more repetitive scenes, but not much more character development. Dallas’ personal life is explored more and more obviously — she’s a GASP prostitute! — and we actually meet the evil Plummers here which is a positive. Filmed on location in Colorado, the visual appeal is evident with snow and tree-capped mountains filling in for the dusty desert and massive rock formations. As well, composer Jerry Goldsmith‘s score is good, a precursor to his score two years later with 1968’s Bandolero! Some positives, some negatives, a mixed bag of changes.

An ensemble cast with a story full of misfits and flawed characters is a gimme. The cast is what pulled me in here more than the story. Like I said, how much can you change? Some good star power though here for sure. Ann-Margret is a more mean-spirited, angry Dallas. Cord is okay but not flashy as Ringo. John Wayne’s original entrance is an all-timer, but here, it’s an afterthought. The chemistry feels a tad forced between Margret and Cord even though the love between two outsiders should have been a gimme. The high point is Crosby as the hard-drinking, fun-loving, accepting life as it is Doc Boone. Steals the show with a fun performance.

Who else to look for on our stagecoach? The always reliable Van Heflin plays Curly, the marshal riding shotgun on the coach while keeping an eye on Ringo. It’s not a flashy part but Heflin is a pro and fits in nicely. Slim Pickens plays Slim Pickens, um, Buck, the worrisome coach driver and has some good chemistry with Heflin. Also look for Stefanie Powers as Lucy Mallory, a young pregnant wife on the way to meeting her husband, Red Buttons as Peacock, a whiskey drummer, Mike Connors as Hatfield, a gentleman gambler looking out for Lucy, and Robert Cummings as Gatewood, a robbing banker. Also look for Keenan Wynn as Luke Plummer, a killer and an outlaw who crossed Ringo and his family in the past.

Things are pretty slow for the first hour as everyone is introduced and things are laid out. The highlight of the film though is the Sioux attack on the stagecoach in the last 45 minutes. It’s an underrated action gem. Some great stunt work, even cooler camera angles and shots (thinking some helicopters were used of some sort) and a whole lot of carnage. I think Ringo, Curly and Co. may have wiped out half the Sioux nation in the process. A final showdown between Ringo and the Plummers is also expanded where in the original, the entire gunfight happened off-screen. A little slow early, but the action late is worth it.

Flawed but entertaining in the end. Still stick with the John Ford original from 1939, but western fans will get a kick out of this 1966 remake. Also worth sticking around in the credits as famous American painter Norman Rockwell painted portraits of the 10 main cast members. They look great and are a cool, unique addition to the credit sequence.

Stagecoach (1966): ** 1/2 /****

Fort Dobbs

fost_dobbs_poster_smallStarring in TV’s Cheyenne for seven seasons, Clint Walker shot to stardom as the burly hero of the long-running western. He never transitioned into a huge star in movies, but with a few exceptions (his supporting part in The Dirty Dozen among others) he was always quite at home in the western. Natural jump, right, TV to film? An underrated, exciting, well-made western, 1958’s Fort Dobbs, was one he made during his Cheyenne run.

Having killed a man in the small town of Largo, Gar Davis (Walker) heads off into the desert ahead of a posse. Comanches are on the warpath and killing anyone in their path though, Gar stumbling across a dead man with an arrow in his back. He switches jackets with the corpse and manages to trick the posse into thinking the Comanches killed him. Gar is still on his own though amidst raiding Comanches until he walks onto a small ranch run by a wife, Celia Gray (Virginia Mayo), and her son, Chad (Richard Eyer), who are waiting for her husband to return. He agrees to help the Grays get to the relative safety of nearby Fort Dobbs, but Mrs. Gray begins to think that Gar has a secret, maybe even about her possibly missing husband.

This is an example of what a western can and should be. The story doesn’t have to be on the level of The Searchers, Shane or High Noon where it delivers a message. It doesn’t have to be mindlessly stupid either full of action and gunplay. From director Gordon Douglas, ‘Dobbs’ isn’t a great, classic western. It is just a really good western, and that’s fine with me. It is shot on a relatively small budget with Max Steiner‘s score sampling his score from They Died With Their Boots On and even borrows some action footage from 1953’s The Charge at Feather River. But even on a small scale, it knows what it wants to do and how to get there. Unspectacular, solid entertainment that any western fan should be able to appreciate.

In the vein of the traditional, white-hat wearing hero from the 1940s westerns, Clint Walker is a great lead as Gar Davis. For starters, he looks like a western hero. Walker stood an imposing 6-foot-6 and weighed 235 pounds so he towers over basically everyone around him. When he starts talking, that deep, baritone voice sounds like it’s going to bounce off of people and echo back. His backstory is explained late in the movie, giving Gar a slightly darker side albeit a righteous darker side. Don’t go in thinking he’s the flawless hero, but he is a good hero who will ultimately make the right choice. It’s too bad Walker didn’t become more of a star in films because as is the case here and yesterday’s Gold of the Seven Saints, he’s perfect for the western genre.

He is capably helped in three main supporting parts, all three of which could have gone obviously very wrong. We’ve got the damsel in distress, her possibly shrill, annoying son, and a smooth, conniving gunrunner. Credit to Mayo, Eyer and Brian Keith for making the most out of their parts. I’ve long been a fan of Virginia Mayo, an actress who was always able to hold her own against some of Hollywood’s best tough guys. She’s tough, smart and gorgeous, able to stand toe to toe with Walker. Eyer as her son, Chad, is also very good. So often in the 1950s (maybe more than any other decade), child actors could single-handedly ruin the movies they’re in. In other films like Friendly Persuasion, The Desperate Hours, and The Seventh Voyage of Sinbad, Eyer shows he can act, genuinely act. He has a great scene with Walker too late in the movie, a natural, emotional scene for a 13-year old actor.

As for Mr. Keith, he’s a scene stealer as Clett, a gunrunner who keeps crossing paths with Gar and Celia as they make a run for Fort Dobbs. He obviously has had some past run-ins with Gar, and that tension comes out in these scenes, especially when Keith’s Clett goes after Mayo’s Mrs. Gray. I’m used to seeing him as more of a straight-laced good guy (like in Nevada Smith) so it’s great seeing him as a bad guy. It’s more of a smooth, quick-talking bad guy, but you get the idea. The final confrontation between Gar and Clett is appropriately epic featuring some great dialogue that feels right at home in the western. It’s not a huge part, but one that Keith knocks out of the park nonetheless.

The fairly straightforward story does just enough to keep you interested and/or guessing until the end. The Utah locations serve as a gorgeous backdrop to the trip to Fort Dobbs which upon arrival delivers quite a twist. The last 25-30 minutes are the more traditional cowboys and settlers vs. Indians story, but it’s handled perfectly. The action is exciting, even surprisingly graphic, and in the end everything wraps up nicely. Russ Conway has a good part as the Largo Sheriff in this final portion. Good, underrated western. Definitely worth checking out.

Fort Dobbs <—Youtube montage (1958): ***/****