Quirt Evans, an all round bad guy, is nursed back to health and sought after by Penelope Worth, a Quaker girl. He eventually finds himself having to choose between his world and the world Penelope lives in.
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In 1818 Alabama, French settlers are pitted against greedy land-grabber Blake Randolph but Kentucky militiaman John Breen, who's smitten with French gal Fleurette De Marchand, comes to the settlers' aid.
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Notorious gunman Quirt Evans is wounded and on the run. He arrives at a Quaker farm owned by Thomas Worth and his family where he collapses from exhaustion. Evans asks Thomas and his daughter Penelope to drive him into town in their wagon in order to send an urgent telegram. The telegram contains a land claim and is sent to the land recorder's office. The Quaker family is ignoring the town doctor's advice to rid themselves of the gunfighter and they compassionately tend to the delirious Evans. Penny Worth becomes intrigued by his ravings of past loves.When Evans regains consciousness, Penny explains to him about the Quaker credo of non-violence and way of life. Three weeks later, two desperadoes, Laredo Stevens and Hondo Jeffries, ride into town looking for Evans.Penny's younger brother, Johnny, rushes home to inform Evans of his visitors and Evans prepares to flee. Penny, now smitten with Evans, offers to run off with him. Upon hearing the sound of approaching horses, Evans grabs his... Written by
It was the first motion picture produced by John Wayne's production company, Patnel Productions. It also was Wayne's first producing effort for Republic. See more »
When walking down the street for the final showdown, the sun starts off to Quirt's right casting shadows to the left of screen, then a close shot shows shadows which could only come from a near-overhead sun, and then at the saloon the sun is coming from Quirt's left casting shadows to the right. See more »
[at the First Day gathering]
[beckons him to come over - Quirt joins the others]
Friend, we're happy to present you with this token of our friendship for you.
[hands Quirt a Bible with his name inscribed on it]
[to the others]
This is Quirt Evans. We're happy to have him here with us because he provided another incident which reaffirms our belief that all men are good if they are shown the light. He persuaded Frederick Carson to let down the water by showing him that a man who is a ...
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This film is one of the great classics of cinema history, nearly perfect in every way. I have to confess I never heard of it until I bought the DVD in Paris out of curiosity because I like Gail Russell. Watching it with French subtitles was hysterically funny in terms of the language differences: 'Hey boss!' is translated 'He, Patron!', and countless other mirthful examples. As usual, the French cineastes have shown great taste in treating this film as an international classic transcending all cultural boundaries. To call it a 'Western' is to condemn it to provincialism. It is far more than that. The luminous presence of the velvety, shy, and melancholy Gail Russell is truly the presence of an angel, and it is as if heaven were lighting the shots for her. She can never have delivered a better performance, nor in my opinion did John Wayne ever find better magic with a leading lady, even his chum Maureen O'Hara with whom he had such jolly roustabouts in more rough and tumble films later on. This film has a pervasive gentle humour which is delightful. Wayne himself is the perfect puer aeternus (eternal boy), wrinkling up his tough guy's visage in an instant into a childlike puzzlement and instant surrender to the playful Gail Russell's commands, on a docile and comical yes ma'am basis. They are like two ten-year-olds playing together, oblivious of the camera. Botticelli could not have drawn a more perfect angel for this fable. Who cares about the story, just sit back and watch this magic as if you were peeking through the doors of some lost paradise. Never would John Wayne rise so high again; this was his peak. And this was Gail Russell at her most glorious, her most divine. When you die, take this one with you.
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