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Fury at Showdown (1957)

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Ratings: 6.4/10 from 109 users  
Reviews: 8 user | 1 critic

After serving a year for a killing in self-defense, gunfighter Brock Mitchell tries to help his younger brother save his ranch but a crooked lawyer has other ideas.



(screenplay), (novel)
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Title: Fury at Showdown (1957)

Fury at Showdown (1957) on IMDb 6.4/10

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Complete credited cast:
Brock Mitchell
John Smith ...
Miley Sutton
Carolyn Craig ...
Ginny Clay
Nick Adams ...
Tracy Mitchell
Gage Clarke ...
Chad Deasy
Robert Griffin ...
Sheriff Clay (as Robert E. Griffin)
Rusty Lane ...
Sydney Smith ...
Van Steeden
Frances Morris ...
Mrs. Williams
Tyler MacDuff ...
Tom Williams (as Tyler McDuff)
Robert Adler ...
Ken Christy ...
Mr. Phelps
Tom McKee ...
Sheriff of Buckhorn


A gunslinger attempts to hang up his hardware and help his younger brother raise cattle. The local attorney, whose brother the gunslinger shot in a fair fight, is determined to swindle the men out of their ranch by preventing a supply deal with the railroad, then using his bodyguard to bushwhack the younger brother. Written by Anonymous

Plot Summary | Add Synopsis


Drama | Western


See all certifications »




Release Date:

5 July 1957 (Finland)  »

Also Known As:

Fury at Showdown  »

Company Credits

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Technical Specs


Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


The entire 75 minute film was shot in only five days. See more »


Brock is described as a "hot dog." The slang usage of that term to describe a person as show-off was not coined until the Twentieth Century. See more »


Sheriff Clay: I got word from the Sheriff of Buckhorn that you were headed this way. Also from every sheriff in every town you passed through from there to here.
Brock Mitchell: It was nice of them to look out for me.
See more »


Referenced in Shadows (1959) See more »

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User Reviews

Superbly Shot Western Is A True Sleeper
27 June 2008 | by (Dixie) – See all my reviews

The only reason I watched this super-obscure 1957 oater (allegedly shot in seven days) is because Philip Hardy, in his 1980s encyclopedia of westerns, called it a "masterpiece" (his word).

I certainly wouldn't go that far, but the direction (Gerd Oswald) and camera-work (Joseph LaShelle, who IIRC shot Laura) are definitely eye- catching. Many angles include ceilings, and there are a number of striking shots of actor(s) in extreme FG with other(s) in extreme BG. Oswald and LaShelle even use the film noir technique of lining up actors in dialogue scenes at various depths so they can all be in the shot without cutting (or having to re-set up the camera).

This second feature programmer is in fact far more interestingly made than A Kiss Before Dying, Oswald's A picture of the year before. Why Oswald went from that well-publicized production of a bestseller to this B- drive-in special is unknown to me. Too bad he didn't show the same level of creativity on that clever Ira Levin mystery that he does on this horse opera, which is quite routinely scripted aside from a few minor curiosities, such as Nick Adams homoerotically caressing the unconscious face of his big brother John Derek.

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