Brett Wade, gambler, gunslinger, and classical pianist, is wounded in a gunfight with the Ferris clan; the doctor finds signs of tuberculosis. En route to Colorado for his health, Brett stops in Socorro, New Mexico along with Ferris gunfighter Jimmy Rapp. Sheriff Couthen fears another shootout, but what Brett has in mind is saving waif-with-a-past Rannah Hayes from a life as one of Dick Braden's saloon girls. Written by
Rod Crawford <firstname.lastname@example.org>
The monochrome brown of the outside scenery seen from inside the stagecoach through the windows during the ride does not match the colored external scenery as shown from outside the stagecoach, proving that the studio used old black & white stock footage that was tinted brown to disguise its black & white origins. See more »
Well, this is an honor. Probably the first time a corpse has ever been asked to deliver his own funeral oration. I expected to be carried out of Lordsburg, but here I stand on my way to Colorado filled with wind instead of lead. I couldn't include most of you in my will, but I do leave you all the unmined silver in these hills, all the unspilled whiskey, all the unkissed ladies and all the unfilled straights and flushes. I want to apologize for leaving the party. For me, there never has been, ...
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Despite the director's odd decision to over-use close-ups (maybe he anticipated a quick sale to TV), Dawn at Socorro turns out to be one of the more interesting westerns of 1954. In the U.K., the movie was even released as an "A" feature. Perhaps Universal's exchanges in other countries thought that the cast offered no box office lure. While it's true that Kathleen Hughes is confined to a disappointingly small role, the equally lovely Mara Corday is given a decent innings for once; the Alex Nichol character is intriguingly conceived and played; and I loved David Brian's lecherous saloon proprietor, even if he does rather let hate go to his head. Lee Van Cleef is also on hand, plus Skip Homeier, James Millican and Edgar Buchanan. Perhaps even more importantly, the movie offers scads of action with splendid stuntwork. And it's not only expansively produced in attractive color with arresting real locations backgrounds, but it features dialogue that is much blunter than we expect from the censor-ridden mid-1950s. So, despite the Kathleen Hughes disappointment, Dawn at Socorro is most definitely a film to add to the must-see list!
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