| Joan Crawford | ... | Vienna | |
| Sterling Hayden | ... | Johnny 'Guitar' Logan | |
| Mercedes McCambridge | ... | Emma Small | |
| Scott Brady | ... | Dancin' Kid | |
| Ward Bond | ... | John McIvers | |
| Ben Cooper | ... | Turkey Ralston | |
| Ernest Borgnine | ... | Bart Lonergan | |
| John Carradine | ... | Old Tom | |
| Royal Dano | ... | Corey | |
| Frank Ferguson | ... | Marshal Williams | |
| Paul Fix | ... | Eddie | |
| Rhys Williams | ... | Mr. Andrews | |
| Ian MacDonald | ... | Pete | |
| rest of cast listed alphabetically: | |||
| India Adams | ... | Singer for Miss Joan Crawford (singing voice) (uncredited) | |
| Trevor Bardette | ... | Jenks (uncredited) | |
| George Bell | ... | Posseman (uncredited) | |
| Bob Burrows | ... | Posseman (uncredited) | |
| Curley Gibson | ... | Posseman (uncredited) | |
| Chick Hannon | ... | Posseman (uncredited) | |
| Clem Harvey | ... | Posseman (uncredited) | |
| Frank Marlowe | ... | Frank - Bartender (uncredited) | |
| John Maxwell | ... | Jake - Bank Clerk (uncredited) | |
| Jack Montgomery | ... | Posseman (uncredited) | |
| Sheilk O'Brien | ... | Posseman (uncredited) | |
| Robert Osterloh | ... | Sam (uncredited) | |
| Denver Pyle | ... | Posseman (uncredited) | |
| Rocky Shahan | ... | Cowboy at Hanging (uncredited) | |
| Dean Williams | ... | Posseman (uncredited) | |
| Sumner Williams | ... | Posseman (uncredited) | |
| Sheb Wooley | ... | Posseman (uncredited) | |
| Will Wright | ... | Ned - Bank Teller (uncredited) | |
Directed by | |||
| Nicholas Ray | |||
Writing credits | ||
| Philip Yordan | (screenplay) | |
| Roy Chanslor | (novel) | |
| Ben Maddow | uncredited & | |
| Nicholas Ray | uncredited | |
Original Music by | |||
| Victor Young | |||
Cinematography by | |||
| Harry Stradling Sr. | (director of photography) (as Harry Stradling) | ||
Film Editing by | |||
| Richard L. Van Enger | |||
Art Direction by | |||
| James W. Sullivan | (as James Sullivan) | ||
Set Decoration by | |||
| Edward G. Boyle | (set decorations) | ||
| John McCarthy Jr. | (set decorations) | ||
Costume Design by | |||
| Sheila O'Brien | (costumes designed by) | ||
Makeup Department | |||
| Peggy Gray | .... | hair stylist | |
| Bob Mark | .... | makeup supervisor | |
Second Unit Director or Assistant Director | |||
| Herbert E. Mendelson | .... | assistant director (as Herb Mendelson) | |
Sound Department | |||
| T.A. Carman | .... | sound | |
| Howard Wilson | .... | sound | |
Special Effects by | |||
| Howard Lydecker | .... | special effects | |
| Theodore Lydecker | .... | special effects | |
Stunts | |||
| Robert Bradshaw | .... | stunts (uncredited) | |
| Jack Montgomery | .... | stunts (uncredited) | |
| Rocky Shahan | .... | stunts (uncredited) | |
| Charles Wilcox | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Nels Mathias | .... | grip (uncredited) | |
Music Department | |||
| Sidney Cutner | .... | orchestrator (uncredited) | |
| Leo Shuken | .... | orchestrator (uncredited) | |
| Stanley Wilson | .... | additional orchestrator (uncredited) | |
Other crew | |||
| Herbert J. Yates | .... | presenter | |
| Jason Lindsey | .... | dialogue director (uncredited) | |
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| The Man Who Shot Liberty Valance | McCabe & Mrs. Miller | The Ballad of Cable Hogue | Gone with the Wind | Persepolis |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Western section | IMDb USA section |
Boy this is a jewel, and for many different reasons. A good lot of people deserve credit for their work
First is Nicholas Ray for his direction. A fine preparation and presentation of the visual elements really took some doing. The use, but not excessive glorification (thank goodness), of the relatively new Trucolor is well-done; the horses full of black-clad riders rushing up the rocky hill in the night, the many shots of the furious blazes dissolving Vienna's place, and so much more.
The acting is remarkable. Sterling Heyden, just in standing before the camera and delivering his lines in that firm and fearless manner (ala Asphalt Jungle), is a strong presence. John Carradine once again shows himself as the precious dramatist he proved himself to be many years before in The Grapes of Wrath.
What strikes me the most, though, is Ben Maddow's (thank Phillip Yordan for being an heroic front) screenplay. It is not only thick in theme and symbolism, it is thick with what was (at the time) almost unprecedented elements. Both Vienna and Emma are, as either GOOD or BAD, shown as the leaders of men! Pacifism is being shown as a good thing! Is that the good guys wearing black and the bad guys wearing white (or maybe the other way around)?! As many comments have mentioned, the Un-American Activities Committee parallels (complete with the entire Ox-Bow-esquire element) are, really, quite thinly veiled. The economically powerful, Small and McIver, are dominant and monopolistic capitalists (a version of antagonism almost unseen, for obvious reasons, since the McCarthey-assaulted Force of Evil). Remember, this is 1954!!!! This stuff is downright revolutionary! How did they ever get it all past the censors and masters of the code?
Let's hope time doesn't forget this one in favor of some formulaic shoot-'em-ups simply because they feature "the Duke."