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 <email@example.com>
Gary Cooper was generally felt to be miscast in this film, as he was about twenty years older than his character. See more »
When the train stops for wood, it would also have to take on water, but it stops a ways past the water tower - out of reach of the "spigot arm" of the tower. See more »
Well, I guess you'll be leaving now?
You're a good guesser. Goodbye, Willie. And thank you for being the only man at the Longhorn Palace that never made an indecent proposal.
Well, if I'd had my strength, I might have. Ha-ha-ha.
Tell her to sing loud and watch out for the manager's hands.
Good luck, there, Billie.
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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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