IMDb > Fury at Showdown (1957)

Fury at Showdown (1957) More at IMDbPro »

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Up 578% in popularity this week. See why on IMDbPro.
Jason James (screenplay)
Lucas Todd (novel)
View company contact information for Fury at Showdown on IMDbPro.
Release Date:
5 July 1957 (Finland) See more »
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. Full summary » | Add synopsis »
User Reviews:
Superbly Shot Western Is A True Sleeper See more (9 total) »


  (in credits order) (complete, awaiting verification)

John Derek ... Brock Mitchell

John Smith ... Miley Sutton

Carolyn Craig ... Ginny Clay

Nick Adams ... Tracy Mitchell
Gage Clarke ... Chad Deasy
Robert Griffin ... Sheriff Clay (also as Robert E. Griffin)

Malcolm Atterbury ... Norris
Rusty Lane ... Riley
Sydney Smith ... Van Steeden
Frances Morris ... Mrs. Williams
Tyler MacDuff ... Tom Williams (as Tyler McDuff)

Robert Adler ... Alabam

Norman Leavitt ... Swamper
Ken Christy ... Mr. Phelps
Tom McKee ... Sheriff of Buckhorn
rest of cast listed alphabetically:

Chet Brandenburg ... Waiter (uncredited)

George DeNormand ... Townsman (uncredited)

Herman Hack ... Fight Spectator (uncredited)

Kermit Maynard ... Townsman (uncredited)

Buddy Roosevelt ... Deputy (uncredited)

Directed by
Gerd Oswald 
Writing credits
Jason James (screenplay)

Lucas Todd (novel "Showdown Creek")

Produced by
John Beck .... producer
Robert Goldstein .... executive producer (as Bob Goldstein)
Original Music by
Harry Sukman 
Cinematography by
Joseph LaShelle (director of photography)
Art Direction by
A. Leslie Thomas  (as Leslie Thomas)
Set Decoration by
Howard Bristol 
Makeup Department
Robert J. Schiffer .... makeup artist (as Bob Schiffer)
Kay Shea .... hair stylist
Production Management
Jack R. Berne .... production manager (as Jack Berne)
Second Unit Director or Assistant Director
Jack R. Berne .... assistant director (as Jack Berne)
Art Department
Max Frankel .... property master
Sound Department
Arthur von Kirbach .... sound
Costume and Wardrobe Department
Albert Deano .... wardrobe
Editorial Department
Robert Golden .... editorial supervisor
Music Department
Harry Sukman .... conductor
Other crew
M.E.M. Gibsone .... script supervisor
Crew believed to be complete

Production CompaniesDistributors

Additional Details

Also Known As:
75 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (RCA Sound Recording)
Finland:K-16 | Sweden:15 | UK:A | USA:Approved (certificate #18237)

Did You Know?

Working title: "Showdown Creek"See more »
Continuity: When Miley Sutton (John Smith) is prevented from leaving the building after knocking down the banker, his right arm holding the gun is shown exposed to the elbow from inside the doorway, then the view switches to the same doorway from outside and only his hand holding the gun is visible.See more »
Chad Deasey:[to Miley Sutton about Brock] The next time he makes a move like that, gun 'em, you hear? You're my bodyguard, and you got a right to gun him down like a dog!See more »
Movie Connections:
Referenced in Shadows (1959)See more »


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10 out of 14 people found the following review useful.
Superbly Shot Western Is A True Sleeper, 27 June 2008
Author: Jozef Kafka from Dixie

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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