Mae Doyle comes back to her hometown a cynical woman. Her brother Joe fears that his love, fish cannery worker Peggy, may wind up like Mae. Mae marries Jerry and has a baby; she is happy but restless, drawn to Jerry's friend Earl.
British hunter Thorndike vacationing in Bavaria has Hitler in his gun sight. He is captured, beaten, left for dead, and escapes back to London where he is hounded by German agents and aided by a young woman.
A western based on the story "Gunsight Whitman" by Silvia Richards. Vern Haskell, a nice rancher, seeks out to avenge his fiancé's death when she is killed during a robbery. His revenge leads him to Chuck-a-luck, Altar Keane's ranch set up to hide criminals, and he finds more than he bargains for. Written by
Andre'a M. Thompson <firstname.lastname@example.org>
Cinematographer Hal Mohr, who had previously photographed Marlene Dietrich in Destry Rides Again (1939), attempted to resign from the film due to Dietrich's insistence that he use lighting to make her look much younger than she was, and Mohr didn't think it was possible to make her look as young as she wanted him to. See more »
Ken Darby is given screen credit for the music and lyrics to "Gypsy Davey". In reality, "Gypsy Davey" is a folk song from the Scottish/Irish tradition that dates back to the 18th century. See more »
Despite rich Technicolor and a heated performance from Dietrich...a mediocre western
A honest rancher, palming himself off as an outlaw to gain acceptance into a fraternal haven of gangsters hiding out in the sticks, is only after the varmint who murdered his fiancée--but ends up feeling a strong sexual attraction to the woman who runs the Chuck-a-Luck, a former saloon hostess with a colorful reputation. Fritz Lang-directed western was plagued with problems (both during the production and after), although Marlene Dietrich--allegedly the cause of most of the on-set turmoil--gives a must-see performance as the notorious Altar Keane ("They even named a railroad car after her!"). Throaty, sensuous, and no-nonsense, Dietrich is willing to go all the way with this role, and one can practically feel the binds holding her back. Arthur Kennedy is better than usual as the newcomer to Dietrich's brood of happy killers and robbers (he and Marlene have palpable chemistry), but Mel Ferrer is stiff and unsure as suave outlaw Frenchy Fairmont (the cartoonish name doesn't match the actor playing the role). The deep, mellow colors are beautiful, and yet the Technicolor cinematography heightens the artificiality of the indoor sets. Not a great picture, and one that is prodded along by a laughably corny folk ballad, though Lang does manage to come up with a few fresh twists on the genre and the supporting players are solid. ** from ****
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