Fugitive bank robber Joe Maybe steals the identity of a marshal and rides into a town whose judge asks Joe to act as town marshal but an old flame almost betrays his real identity forcing Joe to claim she's his wife.
Jim Harvey is hired to guard a small wagon train as it makes its way west. The train is attacked by Indians and Harvey, hoping to persuade Aguila, the chief, to call off the attack due to ... See full summary »
Audie Murphy comes into his own as a Western star in this story. Wrongly accused by crooked railroad officials of aiding a train heist by his old friends the Daltons, he joins their gang and becomes an active participant in other robberies. Betrayed by a fellow gang member, Murphy becomes a fugitive in the end. Seeking refuge at the ranch of a reformed gang member, he hopes to flee with the man's daughter to South America, but he's captured in the end and led off to jail. The girl promises to wait. Written by
Rita Richardson <RRichar790@aol.com>
Outstanding Early Western for Both Audie Murphy & Budd Boetticher
The Combination of an Early Audie Murphy Vehicle and Director Budd Boetticher's First Western make this a Must See for Genre Fans. Budd and Murphy do not disappoint.
Mounted in Technicolor, a Good Supporting Cast, and a Rousing Score, this is a Solid Bit of Entertainment Complete with the Director's Crisp Action and Unconventional Inclusions.
Admire the Decision to have an African American Portrayed as an Admired Family Man (Frank Silvera) with not a Hint of Exploitation or Stereotype. Check Out that Railroad Turnstile Scene (has there ever been another) Shot with an Attention to Detail. Also Notice the Strong Female Mexican Character (Yvette Duguay), as Important and Cunning as any of the Gang, and Absolutely Beautiful.
These Slightly Off-Track Ingredients, and His Mastery Showcase of the Camera, Lighting, and Action Scenes, show why the Director would soon become Legendary Teaming Up with Randolph Scott to make a Series of Westerns that are Considered some of the Best of the Decade.
There are Scenes with Actors in the Foreground in Nothing but Shadow, Faceless and Baroque. Take a Look at the Gun Battles and the way Botteicher makes them a Rapid Fire Standout, Realistic, although Heightened, with Visual Flare.
Murph also Shows just how Photogenic He could be, Displaying Baby-Faced Features that Hide His Strong and Steely Interior. He Captures the Frame even when Surrounded by a Gaggle of Gang Members.
Overall, this is as Attractive and Action Packed as any Western of the Period and can Hold its Own with the Best of the Early Fifties.
Note...Look for an almost unrecognizable, bearded, red-haired Hugh O'Brian as a nasty villain, appropriately named Red Buck.
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