|Index||9 reviews in total|
I'll watch anything with Sterling Hayden in it, even the stuff he isn't so good in and the terrible stuff that he's the best thing in, just because when he's good he's wonderful and because he's one of my great heroes, not in the movies, but in life. I expected The Iron Sheriff to be one of the many less than good little pictures Hayden did during the mid-Fifties. As a Western, that's just what it is -- less than good. Cheap look, cheap sets, cheap costumes, poor action sequences (what little there are of them). In a world where Lonesome Dove and Deadwood exist, this is the kind of Western it's really hard to sit through. Except: it's actually got a pretty good plot angle, and the way it works out is interesting and believable (for the most part). It's much more of a murder mystery than a Western, perhaps no surprise coming from the pen of longtime Perry Mason writer Seeleg Lester. Hayden is the titular sheriff, dead set on proving his son innocent of murder. But the more he looks, the more evidence he finds of his son's guilt. Ultimately he has to face the age-old dilemma, choosing between love and honor. The film works out the story well and fairly satisfyingly, plot-wise, though the film-making is nothing to write home about. The script and some performances by people I normally don't care for much in movies (and whom I reevaluated after this) -- people like Mort Mills and Constance Ford -- make this one far more interesting and worth catching than I'd expected. It's one of Hayden's least impressive jobs, no matter how much I admire him. But the picture is sort of okay. Especially if you like a good detective story.
Iron Sheriff differs from most oaters or horse operas that feature
wordless passages like long horse chases or showdowns performed under
melodramatic music. I was reminded of western paperbacks I'd read in
youth that, unlike those broad western film formulas, turned out to be
thickly populated with characters with ambiguities, tics, or
backstories. Instead of the films' standard linear revenge narrative,
these novels' plots often involved confusion, discovery, and makeshift
alliances. Correspondingly, this film's often-short scenes cut quickly
to other settings and scenes.
Other posters are right that Iron Sheriff resembles a mystery--it uses a standard mystery-genre technique by introducing the actual culprit early and briefly but in the midst of distracting action, multiple characters, and a changing scene. Other posters are also correct that the extensive supporting cast is a prime attraction--another testament to the stable of talent developed by the late studio system.
Title actor Sterling Hayden looks great as ever but moves through the script on cruise control. After I identified the Sheriff's son Benjie as Darryl Hickman, elder brother of Dwayne Hickman of Dobie Gillis, my wife one-upped by identifying Kathi Nolan, the actress playing Benjie's girlfriend, as the future Kate McCoy, who would clang the triangle to summon The Real McCoys to dinner. Another treat is John Dehner, who dignified everything he appeared in.
The Iron Sheriff manages to combine both western and noir elements in
its making. It also is a pretty good courtroom drama.
The title role of The Iron Sheriff is played by Sterling Hayden and as you can gather he's one strict enforcer of the law. That includes arresting his son Darryl Hickman who's been identified as the perpetrator of a stage holdup where the driver was killed. Hickman's been identified by a dying I. Stanford Jolley as the perpetrator, but Jolley has it in for Hickman because he's been getting too serious with his daughter Kathleen Nolan. With all the evidence against him, still Sterling Hayden goes on a quest to find the real culprit, especially after some exculpatory evidence is found.
There's a town full of suspects and each has their own agenda for or against the sheriff, something like the divided public opinion in High Noon in Hadleyville as far as sheriff Gary Cooper was concerned. The Iron Sheriff also is a much better telling of the same kind of story that was told in the John Wayne film Cahill, US Marshall. The Duke in his movie was bound by the parameters of his image and Sterling Hayden did not have that problem.
This western has some pretty good courtroom scenes with Judge Will Wright, prosecutor Frank Ferguson, and defense attorney John Dehner who may have turned in the best performance in the film. I have to confess that I was surprised at who the culprit eventually turned out to be.
If it's run again on TCM try to catch it.
Westerns were all over the screen both big and little in 1957. Maybe
that's why Sterling Hayden looks terminally bored as the "iron"
sheriff. Too bad, because the script keeps us guessing-- who really did
kill the stage driver. (Stage drivers are always getting killed in
Westerns. But, more importantly, in most scripts they just amount to
expendable story props. Nice to see some actual concern here.) Anyway,
the screenplay (Seeleg Lester) shrewdly manages to stay one jump ahead
of us in the guessing game.There's also real fire-power in the
supporting cast. A lot of familiar faces of the time, from the always
cranky Will Wright (the judge) to shabby aristocrat John Dehner (the
kid's attorney) to professional hayseed Frank Ferguson (the other
attorney), while even the young lovers manage not to cloy. There's even
a Broadway actress, the formidable Constance Ford who mostly gets to
Okay, with these promising elements why did my rating service give the movie a one-and-a-half out of four, while I would give it a two. Well, there is Hayden who just can't seem to get interested in the story-line. I counted his changes of expression, but after an hour, stopped at two. Most of all, is director Sidney Salkow. He must have come cheap since there's little evidence he cares about building the suspense of the who-dunnit, or even getting the actors to move around when they speak their lines. It's sort of like a slow-motion result, always deadly for an action genre like the Western. Anyway, the movie was a payday for a lot of veteran performers, and a different kind of story-line, especially if you want to take up the cause of the lowly stage driver.
The Iron Sheriff is directed by Sidney Salkow and written by Seeleg
Lester. It stars Sterling Hayden, Constance Ford, John Dehner and Kent
Taylor. Music is by Emil Newman and cinematography by Kenneth Peach.
As his son languishes in jail charged with the robbery and murder of a stagecoach driver, Sheriff Sam Galt (Hayden), in spite of the evidence suggesting otherwise, tries to prove his son's innocence whilst adhering to his duty to the law.
A compact black and white Western that is more about dialogue and character interactions than it is about action. Essentially a detective mystery, film puts Hayden's world weary lawman front and center as he battles family loyalty and that of his official duty and integrity. He's pretty much on his own in this town since almost everyone believes his son to be guilty, whilst simultaneously the town questions his ability to be Sheriff while under such duress. The suspects are many to keep the mystery element strong, the court case is well staged (John Dehner excellent), the following of a silver dollar clue is neatly written and the big reveal is a genuine surprise.
It's not big on production value and it certainly isn't one for the action seekers, but it's well thought out and Hayden fans get a good turn from him as his character finds himself emotionally conflicted. 7/10
*** This review may contain spoilers ***
Sterling Hayden is the sheriff of a small Western town in South Dakota.
A stagecoach is held up and the driver killed, and Hayden's son, Darryl
Hickman, is arrested on the accounts of a couple of witnesses, some of
them a little shaky. The boy is convicted and sentenced to hang. Hayden
has one day to track down the real killer -- unless Hickman actually
DID do the crime. Of course Hickman DIDN'T commit either the robbery or
the killing. This isn't that kind of movie.
Instead, it's rather more of a mystery than a traditional Western. We don't see the hold up and killing. And we see only an exchange of shots during the climactic scene in which nobody is hit.
One can imagine the writer, Seeleg Lester, putting together a treatment of a noirish urban mystery about a police detective whose son is arrested. The resultant hurried investigation takes him through the darker parts of the city and bumps him into a couple of queer, louche characters.
Then somebody said, oh, hell, it's 1957 and noirs are on their last legs, whereas Westerns are flourishing both on the screen and on television. Let's turn it into a cheap Western.
Q.E.D. There's nothing about the film that isn't perfectly routine. The wardrobe is generic -- string ties, vests, and so on. Make up doesn't even nod in a period direction. The haircuts are echt-1950s, and the men's chins are so close shaven that not a hint of a whisker appears. The photography is functional but sometimes careless. Hickman's jail cell seems to be lighted from floor level. The performers hit their marks and repeat their lines. When Sterling Hayden tries to look mad with rage, his eyes widen slightly. When an actor puts some effort into a physical scene the overacting is outlandish, as if in a silent movie by Cecil B. DeMille. The best performances come from seasoned character actors like Will Wright. John Dehner is outstanding as one of the principals, an expensive lawyer whose character is more complex than anyone else's.
What can I say? If you like shoddy and undemanding Westerns, you'll enjoy this one. The main plot has some tension and it's not insulting in any way. There are times when one aches for mindlessness.
*** This review may contain spoilers ***
....as in Marilyn's song in "river of no return",plays a prominent part
in the plot.
When the movie begins,essential events already happened ;the sheriff's son is accused of murder.As the trial begins,the distraught father has to set out to prove he is not guilty .We suspect several men ,in this whodunit à la Agatha Christie disguised as a western ;the lead is a silver dollar,which was taken from the stolen money.
Only the last sequences -which are quite derivative- have something to do with true western spirit.All that remains is Hayden's investigation ,and the trial ,during which witnesses give their own view of the facts.The defendant's girlfriend's father reveals something to the sheriff but he can't reveal his secret until...
SPOILER: a good trick which Christie ,Ellery Queen or Conan Doyle would not disown:the hope chest or the "trousseau" as French would say.
like this?Try this...
"time without pity" Joseph Losey,1956
I was a bit disappointed when I discovered this feature. I expected
more action. But It is no bad after all. A flat, somewhere oater
western, with lots pf talk, trial, funny dialogue, and an inexpressive
Sterling Hayden as ever.
But it seems to be a rare western.
Do not look for gunfights, violence or Indians in this one.
I must admit that Sidney Salkow used to show us more better action films such as Sitting Bull or Blood on the Arrow; I don't mention his pirates or other adventure movies.
In short, a unusual western that deserves to be seen.
Sterling Hayden plays a sheriff in the West whose son is accused to
holding up the stage and murdering the driver. So many facts seem to
point to this being true but what makes it so tough is that the sheriff
needs to testify against his own kid! However, despite this, he spends
his time trying to prove that, perhaps, this is still a mistake and
some other person is actually responsible.
I watched this movie for one reason--Sterling Hayden. He was an amazingly talented and underrated actor who managed to bring a lot of toughness and realism to the parts he played--why he's pretty much forgotten today is beyond me. I am not just talking about his roles in bigger films like "The Asphalt Jungle", "The Killing" or "Dr. Strangelove"--but even his appearances in seemingly smaller films where he managed to make ordinary material seem extraordinary. However, this is a rare case where no matter the talents of Hayden, the film was a lifeless mess--thanks to a confusing and overly wordy script. It should have been a lot better and they should have trusted the actors to have been able to make the film work without all the needless twists and turns.
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