Jim Douglas has been relentlessly pursuing the four outlaws who murdered his wife, but finds them in jail about to be hanged. While he waits to witness their execution, they escape; and the...
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Jim Douglas has been relentlessly pursuing the four outlaws who murdered his wife, but finds them in jail about to be hanged. While he waits to witness their execution, they escape; and the townspeople enlist Douglas' aid to recapture them. Written by
David Levene <D.S.Levene@durham.ac.uk>
While filming Gregory Peck decided to become a cowboy in real life, so he purchased a vast working ranch near Santa Barbara, California - already stocked with 600 head of prize cattle. See more »
When Gregory Peck lassoed Albert Salmi he roped one leg. Yet when he hung him from a tree both legs were in the noose. However when playing it in slow motion, you can see that when he ropes him and he falls down and tries to reach the rope to get out of it, both feet are in the noose as Peck starts to drag him, and again when he stops to throw the rope over the limb Salmi tries again to get it loose and both feet are still in the noose. See more »
Ladies and gentlemen, there's no need for me to tell you - the emergency arose and the man appeared. Mr Douglass, it's not often a man gets to do so much for his neighbors and do it like you did. We want you to know we'll always be grateful... and in our hearts always.
Thank you... and in your prayers, please.
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Henry King, who directed this picture, had a long and distinguished career that lasted from 1915 from 1962. He directed perhaps as many classic movies as anyone, from TOL'ABLE David (1920) through TENDER IS THE NIGHT (1962). Yet if you look at his sound movies from 1935 on, you will see very little camera movement. Like many of his contemporaries, King set down his camera and let it sit for a while, allowing the movie-goer to make up his mind gradually.
This, however, is a movie of short takes and moving cameras. It might not be apparent to someone familiar with movies shot only in the past twenty years, but watch what happens when Gregory Peck is in the shot: the camera moves like mad to keep him in the frame and you get frequent point of view shots from the character's perspective.
Also watch for the perfectly framed compositions, another hallmark of the directors who started their work in the silent era. A lot of credit, of course, to his regular cameraman, Leonard Shamroy, a great script and marvelous performances.
But that moving camera is not his usual style.
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