IMDb > Last Train from Gun Hill (1959)
Last Train from Gun Hill
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Last Train from Gun Hill (1959) More at IMDbPro »

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Overview

User Rating:
7.4/10   3,586 votes »
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Up 7% in popularity this week. See why on IMDbPro.
Director:
Writers:
Les Crutchfield (story)
James Poe (screenplay)
Contact:
View company contact information for Last Train from Gun Hill on IMDbPro.
Release Date:
3 November 1959 (Japan) See more »
Genre:
Tagline:
The fiery brilliance of 8 great stars ! See more »
Plot:
A marshal tries to bring the son of an old friend, an autocratic cattle baron, to justice for the rape and murder of his wife. Full summary » | Add synopsis »
Plot Keywords:
Awards:
1 nomination See more »
NewsDesk:
(5 articles)
User Reviews:
John Sturges Classic See more (58 total) »

Cast

  (in credits order) (verified as complete)

Kirk Douglas ... Marshal Matt Morgan

Anthony Quinn ... Craig Belden

Carolyn Jones ... Linda

Earl Holliman ... Rick Belden

Brad Dexter ... Beero
Brian G. Hutton ... Lee Smithers (as Brian Hutton)
Ziva Rodann ... Catherine Morgan

Bing Russell ... Skag

Val Avery ... Steve, Horseshoe Bartender'
Walter Sande ... Sheriff Bartlett
rest of cast listed alphabetically:
Eric Alden ... Craig's Man (uncredited)

John Anderson ... Salesman in Horseshoe (uncredited)
Emile Avery ... Townsman (uncredited)
Michael Bachus ... Townsmen (uncredited)
Kenneth Becker ... Cowboy (uncredited)
William 'Billy' Benedict ... Small Man in Horseshoe (uncredited)
Nick Borgani ... Townsman (uncredited)
Chet Brandenburg ... Train Passenger (uncredited)
Frank Carter ... Train Passenger (uncredited)
Fred Coby ... Luke (uncredited)
Russell Custer ... Townsman (uncredited)
Sayre Dearing ... Train Passenger (uncredited)
Vera Denham ... Townswoman (uncredited)

Dabbs Greer ... Deputy Andy (uncredited)
Frank Hagney ... Craig's Man Waiting in Horseshoe (uncredited)

Ty Hardin ... Cowboy Loafer (uncredited)
Sam Harris ... Townsman (uncredited)
Rusty Havens ... Boy (uncredited)
Dick Haynes ... Townsmen (uncredited)
Lars Henderson ... Petey Morgan (uncredited)
Len Hendry ... Man in Harper House Lobby (uncredited)
Michael Jeffers ... Townsman (uncredited)
Ricky Kelman ... Boy (uncredited)
Kenner G. Kemp ... Departing Train Passenger (uncredited)
Jack Kenny ... Townsman (uncredited)
Ethan Laidlaw ... Saloon Patron (uncredited)
Kim Leslie ... Townswoman (uncredited)
Baron James Lichter ... (uncredited)
Jack Lomas ... Charlie (uncredited)
Mara Lynn ... Minnie (uncredited)
Mike Mahoney ... Drummer on Train (uncredited)
Hank Mann ... Storekeeper (uncredited)
Raymond A. McWalters ... Wounded Gunman (uncredited)
Walter Merrill ... Train Conductor (uncredited)
King Mojave ... Townsman (uncredited)
William Newell ... Harper House Clerk (uncredited)
Alan Roberts ... Boy (uncredited)
Mark Roberts ... Train Conductor (uncredited)
Tony Russel ... Pinto (uncredited)
Carl Saxe ... Craig's Man (uncredited)
Jeffrey Sayre ... Saloon Dealer (uncredited)
Court Shepard ... Cowboy (uncredited)
Ray Spiker ... Henchman (uncredited)
Charles Stevens ... Keno (uncredited)
Dante Charles Stradella ... Townsman (uncredited)
Glenn Strange ... Gun Hill Bouncer (uncredited)
Julius Tannen ... Horseshoe Cleaning Man (uncredited)
Harriette Tarler ... Townswoman (uncredited)
Sid Tomack ... Roomer (uncredited)
Jack Tornek ... Barfly (uncredited)
Robin Warga ... Boy (uncredited)
Henry Wills ... Jake (uncredited)
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Directed by
John Sturges 
 
Writing credits
Les Crutchfield (story "Showdown")

James Poe (screenplay)

Produced by
Paul Nathan .... associate producer
Hal B. Wallis .... producer
 
Original Music by
Dimitri Tiomkin 
 
Cinematography by
Charles Lang  (as Charles Lang Jr.)
 
Casting by
Edward R. Morse (uncredited)
 
Art Direction by
Hal Pereira 
Walter H. Tyler  (as Walter Tyler)
 
Set Decoration by
Sam Comer 
Ray Moyer 
 
Costume Design by
Edith Head 
 
Makeup Department
Nellie Manley .... hair styles supervisor
Wally Westmore .... makeup supervisor
Hedy Mjorud .... hair stylist (uncredited)
Harry Ray .... makeup artist (uncredited)
Frank Westmore .... makeup artist (uncredited)
 
Production Management
Richard Blaydon .... unit production manager (uncredited)
Frank Caffey .... production manager (uncredited)
Curtis Mick .... assistant production manager (uncredited)
 
Second Unit Director or Assistant Director
Michael D. Moore .... assistant director (as D. Michael Moore)
Lloyd Allen .... second assistant director (uncredited)
Ralph Axness .... second assistant director (uncredited)
Daniel McCauley .... assistant director (uncredited)
 
Art Department
Romaine Birkmeyer .... prop buyer (uncredited)
Cline Jones .... prop buyer (uncredited)
Gene Lauritzen .... construction coordinator (uncredited)
Robert McCrellis .... props (uncredited)
Dwight Thompson .... props (uncredited)
Dee Turner .... stand-by painter (uncredited)
 
Sound Department
Winston H. Leverett .... sound recordist (as Winston Leverett)
Harold Lewis .... sound recordist
R.D. Cook .... sound recordist (uncredited)
Nick Gerolimates .... sound cableman (uncredited)
Hayden Hohstadt .... mike grip (uncredited)
Bud Parman .... boom operator (uncredited)
 
Visual Effects by
Farciot Edouart .... process photography
John P. Fulton .... special photographic effects
 
Stunts
Eric Alden .... stunts (uncredited)
Polly Burson .... stunt double: Ziva Rodann (uncredited)
Fred Carson .... stunt double (uncredited)
Ann Duncan .... stunt double: Lars Henderson, Jr. (uncredited)
Jerry Gatlin .... stunts (uncredited)
Erwin Neal .... stunt double: Brian Hutton (uncredited)
Carl Saxe .... stunts (uncredited)
Henry Wills .... stunts (uncredited)
 
Camera and Electrical Department
Guy Bennett .... camera operator (uncredited)
Mal Bulloch .... still photographer (uncredited)
Howard Cashion .... camera mechanic (uncredited)
William Collins .... grip (uncredited)
Ed Crowder .... grip (uncredited)
Pat Drew .... gaffer (uncredited)
Frank Dugas .... camera operator (uncredited)
Bud Fraker .... still photographer (uncredited)
Cecil Gardiner .... grip (uncredited)
Archie Gardner .... grip (uncredited)
James Grant .... first assistant camera (uncredited)
James Hawley .... first assistant camera (uncredited)
Warren Hoag .... best boy (uncredited)
W. Wallace Kelley .... camera operator (uncredited)
Thomas E. 'Pep' Lee .... electrician (uncredited)
Rollie Lilly .... grip (uncredited)
Kyme Meade .... camera operator (uncredited)
Terry K. Meade .... loader (uncredited)
Lorne Netten .... electrician (uncredited)
Dave Perry .... electrician (uncredited)
Joe Schuster .... electrician (uncredited)
Dominic Seminerio .... grip (uncredited)
Walter Sullivan .... generator operator (uncredited)
Paul Uhl .... camera operator (uncredited)
Edward Wahrman .... camera assistant (uncredited)
Herb Welts .... grip (uncredited)
 
Casting Department
William Cowitt .... casting (uncredited)
Bill Greenwald .... casting (uncredited)
Alice Moriarty .... casting secretary (uncredited)
 
Costume and Wardrobe Department
John A. Anderson .... costumes: men (uncredited)
Bud Clark .... wardrobe (uncredited)
Grace Harris .... costumes: women (uncredited)
 
Editorial Department
Warren Low .... editorial supervisor
 
Music Department
Dimitri Tiomkin .... conductor
Maurice De Packh .... orchestrator (uncredited)
Manuel Emanuel .... orchestrator (uncredited)
Michael Heindorf .... orchestrator (uncredited)
George Parrish .... orchestrator (uncredited)
Herbert Taylor .... orchestrator (uncredited)
 
Transportation Department
Al Latta .... transportation (uncredited)
L.D. McKnight .... transportation (uncredited)
 
Other crew
Richard Mueller .... technicolor color consultant
Bill Gray .... location auditor (uncredited)
Bill Hurley .... livestock (uncredited)
Bob Miles .... wrangler (uncredited)
Richard Rabis .... craft service (uncredited)
Pedro Regaldo .... staff (uncredited)
Jack Saper .... assistant to producer (uncredited)
Art Sarno .... publicist (uncredited)
Manuel Vasquez .... staff (uncredited)
Marvin Weldon .... script supervisor (uncredited)
 
Crew verified as complete


Production CompaniesDistributors
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Additional Details

Also Known As:
"One Angry Day" - USA (alternative title)
See more »
Runtime:
95 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)
Certification:
Argentina:Atp | Australia:PG | Australia:X (original rating) | Finland:K-16 | Iceland:16 | Netherlands:6 | New Zealand:PG | Spain:18 | Sweden:15 | Taiwan:PG-12 | UK:A (original rating) | UK:15 (video rating) (1986) | West Germany:16

Did You Know?

Trivia:
For the sequences showing the train in Gun Hill, Paramount installed 600 feet of track snaking in and around their western street located at their Hollywood studio. At one point the steam engine traveled right under the window of Paramount chief executive Y. Frank Freeman who protested so much about the resulting noise that the tracks had to be moved.See more »
Goofs:
Continuity: On its way to Gun Hill, the train has four cars. By the time it reaches the station, there are only two, and the baggage car is a different one than before.See more »
Quotes:
Rick Belden, Craig's Son:Don't take no guts to kill a man when he's cuffed!
Marshal Matt Morgan:Takes guts not to. Be too easy on ya. You'd die too quick. I know an old man who'd like to kill you, Belden - the Indian way: slow. That's how I'm gonna do it: slow - but the white man's way. First you stand trial. That takes a fair amount of time, and you'll do a lot of sweating...
See more »
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FAQ

This FAQ is empty. Add the first question.
23 out of 28 people found the following review useful.
John Sturges Classic, 13 February 2002
Author: rmahaney4 from isla de la muerte

In Last Train From Gunhill, there is no possibility of compromise between the characters, no easy resolution:

Craig Beldon (Anthony Quinn): `This is my son you're talking about.'

Matt Morgan (Kirk Douglas): `No, Craig. It's my wife we're talking about.'

Thankfully, the filmmakers did not choose to cheat the audience and followed through to the end.

This is an excellent and long underrated film that stands next to 3:10 to Yuma (which this film is very similar to, even sharing plots) and Shane as the best westerns of the 1950s. It is the darkest of all the physiological westerns of the time, and the startling opening to the film leaves these characters in this situation with no way out, no escape. There can be no happy ending to this film. Also, none of the other films of this type, the `noir' or `siege' westerns, included so many of the difficult realities of racism, class and political power, and domestic violence and how these realities complicate friendship, love, and society.

The characters of Morgan and Beldon are studies in contrast. Both rode together years before on the wrong side of the law, Beldon saving Morgan's life at one point. However, in their years apart they had developed very differently. Morgan has become a marshal in a small town, Pauly, whose wild past he helped to end. In his first scene he describes a gunfight that took place there eight years before to a group of boys. All the boys were born after the gunfight, after the town had settled down and become `civilized.' Morgan travels using the train or a buckboard, his outfit resembles a business suit and he even wears a (bola) tie. When his wife, a Cherokee woman, is raped and murdered, he swears to kill the culprits but here enters one of the complications in this film, one of the many that make it so interesting. Morgan is not simply a typical, heroic figure defending justice and order (like Cooper in High Noon), though he does represent these ideals. His use of the law is not simply an altruistic faith it's correctness but, in this case, is his chosen instrument of vengeance. He is going to Gunhill to capture the men responsible for his wife's death, men he will bring back to Pauly and, using the courts, the jury, and the scaffold, will kill them. In the movie's most chilling scene, Morgan describes to one of the handcuffed killers what it will be like when he is hung, enjoying the impact of his words on the man. While he gloats the viewer remembers that he is a good man, a father, marshall, a man you might know and would respect.

Beldon is a rancher who has `sewed up this entire country' and owns the town, `even the town council' and the sheriff. His values are masculine, he is always surrounded by men – his son and his ranch hands – and his wife is long dead. He thoroughly dominates his surroundings, his town. He can be incredibly generous to his few friends, incredibly demanding of his son, his lover, and his town. In Gunhill, he is the law, while Morgan only represents it.

Linda, Beldon's lover, returns to Gunhill on the same train that brings Morgan to town. She is returning from a hospital after Beldon had beat her:

Linda: `When he tells you dirty, lying stories about me, why do you believe him? Why don't you for once believe me?'

Beldon: `Because he's my son.'

She is only person in the town that will help Morgan, though her reasons are complex: sympathy, revenge against the son, an attempt to hurt the man she loves, the man that hurts her, that chooses to believe the lies of his son because they are his son's lies. Also, she is the only person in the town that will allow herself to feel the horror of the rape, murder, and siege. I find the attitudes and actions of the townspeople in this film more believable than that of those in High Noon. Here the town is unfeeling and hard, frightened about what would happen if they ever allowed themselves to empathize with the weak, rebel against Beldon. They mock Morgan with racist statements that denigrate his wife because it is easier for them to believe that she was "only an Indian", that her death really didn't matter, that her suffering was irrelevant.

The reason the film succeeds, in the end, is that it makes all of these flawed characters sympathetic and understandable. If they could avoid the conflict, they would. Unfortunately, the situation will not allow it.

The other characters are well drawn too, including the sheriff who insists on `taking the long view'; the viscous son Rick who the viewer cannot help but feel some sympathy for because he is so dominated by the father, swept along in his wake; and the reckless ranchhand Lee, who is loyal to the son and not the father.

The acting is great all around, particularly from Carolyn Jones, Quinn, and Douglas, the pairing of which was excellent. Both performances are intense and explosive, as is the film. Poe's script is excellent and Tiomkin provides a good score.

There have only been a few westerns since 1959 that have matched the complexity and substance of Last Train: Once Upon A Time In The West, The Great Silence, McCabe and Mrs. Miller, and Unforgiven. All of these films exploit the genre's tragic possibilities to the fullest and all are unforgettable. When I think of these films the eyes of Trintignant in the final scene of The Great Silence come to mind, or the way, in this film, that Douglas yells the name of his wife or Quinn, at the train station, yells that of his son. It is amazing that in the most popular and industrial of art forms, in the most basic of all genres, could be created films of such beauty and power.

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