IMDb > The Law and Jake Wade (1958)
The Law and Jake Wade
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The Law and Jake Wade (1958) More at IMDbPro »


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Up 70% in popularity this week. See why on IMDbPro.
William Bowers (screenplay)
Marvin H. Albert (novel)
View company contact information for The Law and Jake Wade on IMDbPro.
Release Date:
22 July 1958 (Japan) See more »
Filmed in Color amid the grandeur of the High Sierras ! See more »
Outlaw Clint Hollister escapes from jail with the help of Marshal Jake Wade, because once Clint did the same for him... See more » | Full synopsis »
(3 articles)
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User Reviews:
The Law and Jake Wade: Remembering Richard Widmark See more (29 total) »


  (in credits order) (verified as complete)

Robert Taylor ... Jake Wade

Richard Widmark ... Clint Hollister
Patricia Owens ... Peggy
Robert Middleton ... Ortero

Henry Silva ... Rennie

DeForest Kelley ... Wexler (as De Forest Kelley)
Burt Douglas ... Lieutenant
Eddie Firestone ... Burke
rest of cast listed alphabetically:
Fred Coby ... Deputy (uncredited)
Gene Coogan ... Minor Role (uncredited)
Richard H. Cutting ... Luke, Jake's Deputy (uncredited)
Roy Engel ... Avery (uncredited)
Al Ferguson ... Minor Role (uncredited)
Rory Mallinson ... Deputy (uncredited)
Reginald Simpson ... Minor Role (uncredited)
Dean Smith ... Soldier (uncredited)
Henry Wills ... Cavalry Sergeant (uncredited)

Directed by
John Sturges 
Writing credits
William Bowers (screenplay)

Marvin H. Albert (novel)

Produced by
William B. Hawks .... producer (as William Hawks)
Cinematography by
Robert Surtees (director of photography)
Film Editing by
Ferris Webster 
Casting by
Leonard Murphy (uncredited)
Art Direction by
Daniel B. Cathcart 
William A. Horning 
Set Decoration by
Henry Grace 
Otto Siegel 
Costume Design by
Walter Plunkett 
Makeup Department
Sydney Guilaroff .... hair stylist
William Tuttle .... makeup artist
Production Management
Al Shenberg .... unit manager (uncredited)
Second Unit Director or Assistant Director
Robert Saunders .... assistant director
Jack N. Reddish .... second assistant director (uncredited)
Art Department
Walter Brown .... props (uncredited)
Sound Department
Wesley C. Miller .... recording supervisor (as Dr. Wesley C. Miller)
Thomas Edwards .... sound mixer (uncredited)
Special Effects by
Lee LeBlanc .... special effects
Gene Coogan .... stunts (uncredited)
Martha Crawford .... stunt double: Patricia Owens (uncredited)
Carl Pitti .... stunts (uncredited)
Dean Smith .... stunts (uncredited)
Jack Williams .... stunts (uncredited)
Henry Wills .... stunts (uncredited)
Jack N. Young .... stunts (uncredited)
Camera and Electrical Department
John Schmitz .... camera operator (uncredited)
Costume and Wardrobe Department
Robert Ellsworth .... wardrobe: men (uncredited)
Evelyn Rickart .... wardrobe: women (uncredited)
Editorial Department
Charles K. Hagedon .... color consultant
Other crew
Grace Dubray .... script supervisor (uncredited)
Howard 'Dutch' Horton .... location manager (uncredited)
Jim Merrick .... publicist (uncredited)
Crew verified as complete

Production CompaniesDistributors

Additional Details

Also Known As:
86 min
Color (Metrocolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Perspecta Stereo (as Perspecta Sound) (Westrex Recording System)
Australia:PG | Finland:K-16 | Sweden:15 | UK:U (passed with cuts) | USA:Approved (certificate #18917) | West Germany:16

Did You Know?

Continuity: When Marshall Wade comes into a town near the start of the movie leading an extra horse, he throws that horse's rein up against a rail and it drops right off. As he steps down from his horse, the other horse's rein is now tightly wound around the rail.See more »
Peggy Carter:Your father was a preacher?
Rennie:Kind of a phony evangelist. I tell ya, he was about the meanest man I've ever met in my life. He just naturally liked to beat up on anything that was smaller than him. And of course, he could always say he was beating the fear of God into ya.
Peggy Carter:Well, where is he now?
Rennie:Well, I, ah, well I hope I know where he is. He was the first man I ever killed.
See more »
Movie Connections:
Referenced in A Majority of One (1961)See more »


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19 out of 21 people found the following review useful.
The Law and Jake Wade: Remembering Richard Widmark, 27 March 2008
Author: bonfirexx from United States

I just learned that Richard Widmark passed away at the age of 93. Widmark was on a short list of my all time favorite actors, sharing top billing with Fred MacMurray, George Peppard, and the brilliant (in my opinion) supporting actor Martin Balsam.

The best actors seem to adapt their roles to themselves, so that they never lose their off-screen persona. Frank Sinatra was always himself in his movies, as was John Wayne. And so was Richard Widmark.

Why do we like "bad guys" so much? Possibly because we get the feeling that in their private lives they are neither good nor bad, but rather, something even better: genuine. Richard Widmark never divorced. He outlived two wives, one marriage lasting 55 years until his first wife passed on. So we know he was not a loner, although his life style was private, as he never appeared on TV talk shows to promote his movies or himself. Buoyed by his inimitable personal qualities, he carved a unique niche for himself in film, and ran with it for a half- century.

The Law and Jake Wade made a strong impression upon me, seeing it for the first time, as a 16-year old, shortly after its release in 1958. This film had a 3-D quality, and a horror film quality which really grabbed its audience, at that time. By 1958 the 3-D fad was long gone, but, I swear, when the Indians attacked Widmark's gang at night with bows and arrows, it seemed like 3-D revisited as the arrows seemed to be coming right through the screen at the audience. Even knowing it was a movie, I was petrified, so realistic is this scene. Unfortunately, this realism cannot be duplicated via DVD or any lesser medium.

Abetting all this excitement is the contrast in style of Widmark and Robert Taylor. While Taylor had adopted family values and professional law man responsibility following his maverick Civil War renegading in partnership with Widmark, Widmark, as the years passed, would have none of the maturing and sobering process to which most men evolve, after having sown their wild oats. So that when Widmark and Taylor locked horns due to a conflict of interest and values, long after the war's end and the demise of their gang, there could be no reconciliation as their cross-purpose came to a head.

Widmark's upbeat, anti-social mores neatly bounce off Taylor's low-key, conventional manner, right up to their inevitable show-down. And it doesn't matter whether Widmark prevailed in the end, his is the character which makes this an enduring film-going experience.


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