Silver has been found on comanche territory and the government accomplished a peaceful agreement with the indians. When James 'Jim' Bowie comes into the scene he finds the white settlers ... See full summary »
Gilliat,a fisherman/smuggler is in jail, and is offered a pardon, if he undertakes a mission to sail to France to rescue Douchette, an English agent, whose cover has been blown,and who has now been jailed. Gilliat accepts the challenge.
At the end of the Second World War six German ex-soldiers return to Berlin and set up as a bomb disposal group. The pressure of the dangerous work starts to affect them, the more so as they... See full summary »
A murderous thief on the run with stolen loot forces a poor rancher to guide him across the desert into Mexico. Accompanying them is the rancher's wife, who happens to be the killer's former girlfriend.
In 1866, a new gold discovery and an inconclusive conference force the U.S. Army to build a road and fort in territory ceded by previous treaty to the Sioux...to the disgust of frontier ... See full summary »
Cheerful outlaw Charlie Boles leaves former partners Lance and Jersey and heads for California, where the Gold Rush is beginning. Soon, a lone gunman in black is robbing Wells Fargo gold shipments. One fateful day, the stage he robs carries old friends Lance and Jersey...and notorious dancer Lola Montez, coming to perform in Sacramento. Black Bart and Lance become rivals for both Lola's favors and Wells Fargo's gold. Written by
Rod Crawford <firstname.lastname@example.org>
Charles E. Boles was the historical figure of Black Bart, and he reportedly held up 28 Wells Fargo stagecoaches in Northern California before he was captured in 1882. The real-life Boles operated alone, used an unloaded weapon, and often-times he left poems inside the strongboxes he had looted. After his release from prison he disappeared.His place and date of death is unknown. See more »
One of the newspaper columns (c. 1849) mentions automobiles. See more »
Three tricky outlaws part ways, only to meet up later on opposite sides.
Pretty good Western somewhere between an A-production and a B. It's an unusually distinguished supporting cast from Lovejoy to McIntyre to Kilbride, along with some good scenic outdoor set-ups that keep the eye entertained even when the action slows down. Reviewer lorenellroy is rightthe amorality of Lynn and Duryea is unusual for the period, 1948. It's hard at times to know where their loyalties lie, making the script somewhatand refreshingly-- difficult to predict. Add a luscious De Carlo who looks ravishing in Technicolor, while turning in a surprisingly artful performance.
So, with these positives, why doesn't the movie impact more strongly than I believe it does. Now I'm as big a Duryea fan as anyone. In fact that's why I tuned in. But for some reason he looks less motivated than usual, draining Bart of needed character color. There's not the usual relish of his better performances. Add to that the other lead, Jeffrey Lynn, who's just naturally colorless, and there's not the needed drive at the movie's center. At the same time, director Sherman has to work in the romantic angle without sagging the tempo, which he does pretty well. But the staging of the final ambush scene is clumsily donehow could the ambushers miss their shots at such close range as Bart and Lance race for the cabin.
Anyway, there's real offbeat potential in the various ambiguities that the script doesn't develop adequately until the end. Nonetheless, the compensations are enough to make this a generally entertaining 80-minutes of cowboy intrigue.
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