A year after a violent train robbery the Pinkerton detective agency hires a bounty hunter to find the three remaining killers. He tracks them to Twin Forks but has no clue to their identity... See full summary »
André De Toth
Commander James Ferraday, USN, has new orders: get David Jones, a British civilian, Captain Anders, a tough Marine with a platoon of troops, Boris Vasilov, a friendly Russian, and the crew ... See full summary »
A crusading reporter plans his own arrest and conviction for first degree murder, trying to show that the death sentence should be outlawed when based on circumstantial evidence alone, but his plan goes awry.
From the time John J. Macreedy steps off the train in Black Rock, he feels a chill from the local residents. The town is only a speck on the map and few if any strangers ever come to the place. Macreedy himself is tight-lipped about the purpose of his trip and he finds that the hotel refuses him a room, the local garage refuses to rent him a car and the sheriff is a useless drunkard. It's apparent that the locals have something to hide but when he finally tells them that he is there to speak to a Japanese-American farmer named Kamoko, he touches a nerve so sensitive that he will spend the next 24 hours fighting for his life. Written by
The projectionist's records have revealed that over the years this has become one of the most frequently shown films in the screening room of The White House. See more »
Clouds appear and disappear from shot to shot. For example, during the discussion scene on the railroad tracks about 27 minutes into the film, the clouds above the mountains at the tracks' vanishing point appear in wide shots and disappear in tight shots. See more »
Doc T.R. Velie Jr.:
First, I sell 'em a piece of land. Do you think they farm it? They do not. They dig for gold. They rip off the topsoil of ten winding hills, then sprint in here all fog-heaved with excitement, lugging nuggets - big, bright, and shiny. Is it gold? It is not. Do they quit? They do not. Then they decide to farm, farm in a country so dry that you have to prime a man before he can spit. Before you can say "Fat Sam" they're stalled, stranded, and starving. They become weevil-brained and buttsprung. ...
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Spencer Tracy did not get an academy award for this film but he was compensated with a more important award--the Cannes Film festival award. It is always interesting that Europe recognizes the better Hollywood works than the Academy ("Thin Red Line" got the top award in Berlin, "Scarecrow" in Cannes--two geat American films ignored at the Oscar ceremonies).
I read a review of the film on IMDB pointing out the flaws in the script. They are all correct, if we go by rational thinking. But the merits of this film are the superb editing, the beautiful cinemascope photography and the arresting performances. Every time I see this film I am reminded of Spielberg's little known film "Duel" that had similar thrilling tension packed into less than 24 hours of screen time--a film I admire much more as good cinema than the recent box office outputs of Spielberg.
Compare this film with Sturges' "The Magnificent Seven." Sturges like King Vidor, seemed to pick up stories to film that looked at the oppressed and tried to present a world that could be better. "The Magnificent Seven," like this film, had a predominantly male cast. It appealed to most viewers. And some could see a social and even a political layer beneath these films.
What I find most appealing is the the ability of Sturges, Vidor, and the early unsung Spielberg's ability to use cinema to combine thrills, human values and craft in say 81 minutes as in this film. Spencer Tracy is not to be admired for the way he delivers his lines, but his body movements which remind you of majestic caged animal that can be deadly if provoked. Sturges brings to the fore evil in different ways--the dead buck strapped on the front of a vehicle, menace on empty roads by big vehicles (used in "Duel" to great effect), evil women when you expect them to be good, laws used in illegal ways (the hotel registration scene), etc. Sergio Leone made similar films in Europe--the famous spaghetti westerns--with laconic dialogues and emphasis on body movements and photography
In spite of its flaws, it is a film Hollywood can be proud of. I only hope TV reruns show the film in its original cinemascope grandeur, which grabbed me the first time I saw it decades ago.
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