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The Outlaw (1943)

Approved | | Comedy, Drama, Romance | 7 November 1946 (Mexico)
Western legends Pat Garrett, Doc Holliday and Billy the Kid are played against each other over the law and the attentions of vivacious country vixen Rio McDonald.

Directors:

, (uncredited)

Writer:

(screenplay)
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Cast

Complete credited cast:
...
Billy the Kid (as Jack Beutel)
...
...
...
...
Guadalupe
...
Charley Woodruff
...
Stranger who draws on The Kid
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Storyline

Newly appointed sheriff Pat Garrett is pleased when his old friend Doc Holliday arrives in Lincoln, New Mexico on the stage. Doc is trailing his stolen horse, and it is discovered in the possession of Billy the Kid. In a surprising turnaround, Billy and Doc become friends. This causes the friendship between Doc and Pat to cool. The odd relationship between Doc and Billy grows stranger when Doc hides Billy at his girl, Rio's, place after Billy is shot. She falls for Billy, although he treats her very badly. Interaction between these four is played out against an Indian attack before a final showdown reduces the group's number. Written by Ron Kerrigan <mvg@whidbey.com>

Plot Summary | Plot Synopsis

Taglines:

The picture that couldn't be stopped! See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

|

Release Date:

7 November 1946 (Mexico)  »

Also Known As:

Geächtet  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Once they'd found Jane Russell, Howard Hughes and his aircraft engineers designed a special cantilevered bra to enhance the appearance of her bust. She never wore it, but this movie was the reason the famous bra was designed. See more »

Goofs

Billy the Kid was killed by Pat Garrett in 1881, but Doc Holliday died in bed of tuberculosis in 1887. See more »

Quotes

[first lines]
Townsman: Doc Holliday just got off the stagecoach! Do you want me and some of the boys to come along with you?
Pat Garrett: Why do ask that?
Townsman: Well, I certainly wouldn't want to fool around with him if I were alone.
Pat Garrett: I don't blame you, but I ain't gonna make no trouble for Doc Holliday. He's my best friend!
See more »

Connections

Featured in Histoire(s) du cinéma: Toutes les histoires (1989) See more »

Soundtracks

Symphony No. 6 in B Minor, Opus 74, 'Pathétique'
(1893) (uncredited)
Music by Pyotr Ilyich Tchaikovsky
First movement theme played during the opening credits
Variations also played throughout as the love theme between Billy and Rio
See more »

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User Reviews

Hughes Shouldn'a Ought'a Had'a Dunnit !!
1 July 2002 | by (Chicago IL) – See all my reviews

I have seen this 'film', "The Outlaw", on a number of occasions. Frankly, I don't understand what all of the hubbub is about. The film is absolutely dreadful. Great talent (Walter Huston and Thomas Mitchell) is wasted in this film with an 'identity crisis'. It doesn't know if it wants to be a western, or a romance, or a comedy. Maybe it did introduce Jane Russell to the screen, but that appears to be the only justification for making this celluloid nightmare. Her acting talents are virtually non-existent, though she looks good. Jack Beutel is forgettable as 'Billy the Kid', and he gives an un-inspired performance that is something far beyond lackluster. One gets the feeling he is reading his lines 'cold' from cue cards. The film moves very slowly, is not particularly well written ( despite its hightly acclaimed screenwriter credits), is dreadfully acted, and is a very difficult watch, almost the equivalent of Chinese Water Torture. Fortunately, the film never takes itself seriously. And it's a good thing. It isn't the kind of film to be taken seriously !! I would recommend that it be shown in maximum security prisons as a substitute for lethal injection ! The film stunk then, it still stinks, and if it's part of film history, it isn't one of the high points, and the student of film needn't spend too much time here. The creative Victor Young music score and the innovative cinematography of Gregg Toland make the film watchable, but aren't enough to salvage this dreadnaught. Hughes shouldn'a had'da ought'a done it !! He should have hired a REAL director to crack the whip, and he should have taken the gag and handcuffs off of the writer and restored him to his artistic creativity. This didn't happen. Instead, some of the best talent of the period--both in front of and behind the camera--is wasted, and what masquerades to some as film history is seen by this writer as 'Film Misery'!!


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