Crude and uncivilized backwoods trapper Jed Cooper and his two partners sign up as scouts in a remote Oregon army fort, manned chiefly by untrained rookie soldiers. Jed, flirting with the ... See full summary »
Outlaw Wes McQueen is sprung from jail to help pull one last railroad job. He doesn't like his new partners - except dance-hall girl Colorado - and anyway fancies Julie Ann newly arrived ... See full summary »
On his way to hire a schoolteacher, a homesteader is left a hundred miles from anywhere when the train he is on is robbed. With him are an attractive dancehall girl and an untrustworthy gambler and he decides to get shelter nearby from outlaw relatives he used to run with. They don't trust him and he loathes them but they decide he can help them with one last bank job. Written by
Jeremy Perkins <firstname.lastname@example.org>
Gary Cooper was, at 56, a decade older than Lee J. Cobb who played his "Uncle" Dock Tobin. In the film Cooper and John Dehner talk about being children together - Dehner was actually fourteen years younger than Cooper. See more »
Early in the film, when Beasley, Billie Ellis, and Link Jones are left behind by the train after the robbery attempt, they stand on the railroad tracks debating what to do next. As they do so, the shadow of the boom mic is visible above their own shadows on the ground behind them. See more »
Mr. Jones is lookin' to stretch his legs although I don't think he want them any longer than they are.
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Moody, dour western with scurrilous, mad-dog villains...
Anthony Mann directed this surprisingly tough (for its era) and gritty western about an ex-outlaw (Gary Cooper) who, along with a card-sharp and a pretty woman, is left stranded after gun-toting thieves rob a train, only to end up taking refuge with the bloodthirsty gang--his former partners, led by his uncle. Screenwriter Reginald Rose, adapting Will C. Brown's book "The Border Jumpers" (a better title!), appears to have been given free reign in regards to the adult content of the story, and some of the sequences--particularly a nasty one wherein knife-wielding Jack Lord commands Julie London to strip in front of the men--are unsettling. Cooper is too old for the lead, and his budding relationship with London seems to bloom off-screen (at first she's a wise, jaded cookie, but too soon becomes the proverbial lovestruck female, turned soft by her victimization). Ernest Haller's cinematography is excellent, as is Leigh Harline's score, but the picture is almost overwhelmed by its own unpleasantness, and by Lee J. Cobb's growling, snarling performance as Cooper's grizzled relative. ** from ****
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