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The Proud Ones (1956)

Approved | | Western | May 1956 (USA)
Marshal Cass Silver has to deal with his old nemesis, a corrupt gambler, and his hired guns come to town as well as recurring bouts of blindness.

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Writers:

(screenplay) (as Edmund North), (screenplay) | 1 more credit »
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Cast

Complete credited cast:
...
Marshal Cass Silver
...
Sally
...
Thad Anderson
...
Honest John Barrett
...
Jake
...
Jim Dexter
...
Pike
...
Chico
...
Dillon
Fay Roope ...
Markham
...
Dr. Barlow
...
Mr. Sam Bolton
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Storyline

Marshal Silver is run out of town under suspicion of being a trigger-happy killer after shooting a hired gun of Honest John Barrett. A placid life in a new town is interrupted by the reappearance of Barrett, old enemies and the son of the hired gun from years ago, Anderson. Written by Doug White <dwhite@ccpl.carr.lib.md.us>

Plot Summary | Plot Synopsis

Taglines:

The prize beauty of a lawless frontier! See more »

Genres:

Western

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

May 1956 (USA)  »

Also Known As:

Die Furchtlosen  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (FMC Library Print)

Sound Mix:

(Westrex Recording System)

Color:

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

By late December 1955, it was announced that Robert Stack was to star, and that Guy Madison had dropped out of the cast to appear in Hilda Crane (1956). See more »

Goofs

When the sheriff brings in two men for attempted robbery, he puts them in the cell without removing their gun belts. See more »

Quotes

Cass Silver, Marshal Flat Rock Kansas: Used to be a nice quiet place.
Sally, Cass' Woman: That's the sound of money, Cass. I like it noisy.
See more »

Soundtracks

Sweet Betsy from Pike
(uncredited)
Traditional american ballad with lyrics written by John A. Stone before 1858
Played on saloon piano
See more »

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User Reviews

 
THE PROUD ONES (Robert D. Webb, 1956) ***
7 November 2008 | by (Naxxar, Malta) – See all my reviews

This is the best of three efforts by director Webb I watched in quick succession; like WHITE FEATHER (1955), it's a Western that – as far as I'm aware – has never been shown on Italian TV (which is how I first became familiar with a good many vintage Hollywood title).

The film revolves around one of the most popular Western themes – the tough Marshall (in this case, a typically impressive Robert Ryan) taming a lawless town. A couple of unusual twists which heighten the tension considerably concern the fact that the young man (Jeffrey Hunter) he appoints as his deputy – and on whom he comes to depend due to his gradual blindness – bears him a personal grudge; on the other hand, Ryan has his own score to settle with the apparently omnipotent boss (Robert Middleton). For the record, this was the first of three films in which Ryan and Hunter would appear together: the second was the Biblical epic KING OF KINGS (1961), in which the former portrayed John The Baptist and the latter (controversially) Jesus Christ, and the last the historical Western CUSTER OF THE WEST (1967), where both only had supporting roles.

As ever, the hero's woman (Virginia Mayo) becomes embroiled in the violent proceedings – while the eminent members in town prefer to stand aside; then again, not much help is forthcoming from Ryan's own associates either: in a role he'd perfect in RIO BRAVO (1959), Walter Brennan is the cantankerous jailer who all he seems to do is read the newspaper – whereas Arthur O'Connell brings up his wife's imminent motherhood to be excused from the inevitable showdown. The numerous shoot-outs (in a saloon, on the street at night and an all-out gunfight in a barn) denote obvious highlights; however, also notable is a town-council sequence which ends with Ryan's hardboiled comment to his peers: "If I were you, I couldn't look into a mirror without vomiting!" The evocative score by Lionel Newman includes a whistling motif which effectively comes in at particularly revealing moments in the narrative. In the long run, the film proves an underrated entry to emerge from the genre during its most prolific and mature era.


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