41 user 20 critic

Comanche Station (1960)

Approved | | Drama, Western | March 1960 (USA)
A man saves a woman who had been kidnapped by Comanches, then struggles to get both of them home alive.




On Disc

at Amazon

Learn more

People who liked this also liked... 

Drama | Western
    1 2 3 4 5 6 7 8 9 10 7/10 X  

Texan Tom Buchanan is heading back home with enough money to start his own ranch, but when he stops in the crooked town of Agry, he's robbed and framed for murder.

Director: Budd Boetticher
Stars: Randolph Scott, Craig Stevens, Barry Kelley
Ride Lonesome (1959)
Drama | Western
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

A bounty hunter escorts a killer to town to be hanged, but is allowing the man's outlaw brother to catch up with him, for a showdown over a shocking previous murder.

Director: Budd Boetticher
Stars: Randolph Scott, Karen Steele, Pernell Roberts
The Tall T (1957)
Romance | Thriller | Western
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

An independent former ranch foreman is kidnapped along with an heiress, who is being held for ransom by trio of ruthless outlaws.

Director: Budd Boetticher
Stars: Randolph Scott, Richard Boone, Maureen O'Sullivan
Romance | Western
    1 2 3 4 5 6 7 8 9 10 6.9/10 X  

Bart Allison and sidekick Sam arrive in the town of Sundown on the wedding day of town boss Tate Kimbrough, whom Allison blames for his wife's death years earlier.

Director: Budd Boetticher
Stars: Randolph Scott, John Carroll, Karen Steele
Action | Western
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

A former sheriff blames himself for his wife's death during a Wells Fargo robbery and vows to track down and kill the seven men responsible.

Director: Budd Boetticher
Stars: Randolph Scott, Gail Russell, Lee Marvin
Westbound (1959)
    1 2 3 4 5 6 7 8 9 10 6.7/10 X  

In 1864 Capt. John Hayes goes to Colorado to take over the stagecoach line and keep the flow of Western gold flowing and help the North win the Civil War.

Director: Budd Boetticher
Stars: Randolph Scott, Virginia Mayo, Karen Steele
Romance | Western
    1 2 3 4 5 6 7 8 9 10 6.8/10 X  

A Confederate Major and his troops are falsely led to believe the Civil War is not over, and become wanted men after they attack a Union Army wagon train in Nevada.

Director: Roy Huggins
Stars: Randolph Scott, Donna Reed, Claude Jarman Jr.
Romance | Western
    1 2 3 4 5 6 7 8 9 10 6/10 X  

When his ward seeks protection with rival cattleman John Stewart, embittered, jealous rancher Wick Campbell hires ten outlaws to help him seize power in the territory.

Director: H. Bruce Humberstone
Stars: Randolph Scott, Jocelyn Brando, Richard Boone
Romance | Western
    1 2 3 4 5 6 7 8 9 10 6.4/10 X  

A private deadly feud ensues when ruthless wealthy rancher Will Isham attempts a takeover of small rancher Owen Merritt's land and marries Owen's old flame, Laure Bidwell.

Director: André De Toth
Stars: Randolph Scott, Joan Leslie, Ellen Drew
War | Western
    1 2 3 4 5 6 7 8 9 10 5.9/10 X  

A former spy moves to Arizona to join a gold robbery, but when he gets there decides that it's not for him and tries to change his life.

Director: André De Toth
Stars: Randolph Scott, Claire Trevor, Joan Weldon
Rage at Dawn (1955)
Crime | Drama | Western
    1 2 3 4 5 6 7 8 9 10 6.1/10 X  

A special agent from Chicago is sent out west to bring in the notorious Reno brothers.

Director: Tim Whelan
Stars: Randolph Scott, Forrest Tucker, Mala Powers
Santa Fe (1951)
    1 2 3 4 5 6 7 8 9 10 6.2/10 X  

After their service in the Civil War, four brothers go their separate ways, but later find themselves on opposite sides of a final showdown.

Director: Irving Pichel
Stars: Randolph Scott, Janis Carter, Jerome Courtland


Complete credited cast:
Jefferson Cody
Nancy Lowe
Ben Lane
Richard Rust ...
Station Man
Dyke Johnson ...
John Lowe


Loner Cody trades with the Comanches to get a white girl released. He is joined on his way back to the girl's husband by an outlaw and his sidekicks. It turns out there is a large reward for the return of the girl, and with the Indians on the warpath and the outlaw being an old enemy of Cody's, things are set for several showdowns. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis


She Wasn't the White Woman He'd Bought...But She Was the White Woman He Was Going to Keep! See more »


Drama | Western


Approved | See all certifications »



Release Date:

March 1960 (USA)  »

Also Known As:

Einer gibt nicht auf  »

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(RCA Sound Recording)


(Eastman Color)

Aspect Ratio:

2.35 : 1
See  »

Did You Know?


There are numerous mentions of the "Stage to Lordsburg," the title of the story on which John Ford's western classic Stagecoach (1939) to which writer Burt Kennedy is obviously paying homage. See more »


The Comanche did not wear the scalp lock ("Mohawk") hairstyle, and also, contrary to this film's location, were not present in southwestern New Mexico (Lordsburg). See more »


Ben Lane: Oh, I admit I've never had much luck when it comes to women. Oh, I've run with a few, but nothing you could call serious. Except maybe that little gal down in Sonora. She said right out that she wanted to marry me. She told everybody... everybody but her husband. Oh, he came within
[Making a finger gesture]
Ben Lane: that of doing me with a scatter gun. That taught me a lesson though - always check the brand to make sure you aren't driving another man's stock.
See more »


References Stagecoach (1939) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

The cinematic equivalent of a modernist painting.
26 February 2001 | by (dublin, ireland) – See all my reviews

The Western takes another step away from the traditional Fordian Western towards Leone. This is the West painted by Cezanne, a landscape familiar enough on the surface, but chopped up into geometric grids and patterns. You could forget about the story entirely and just marvel at the way Boetticher takes a recognisable monolith, the vast, arid West, and uses it as an easel; and takes the cumbersome film-making apparatus, cast and crew, and uses it like a paintbrush. Or scalpel.

Each astonishingly precise composition is riven by angles, lines, character positions, patterns, which connect with the angles, lines, character positions and patterns of the next frame, so that geometry of content meets the geometry of montage. These are not sterile theorems; within each frame the camera moves with a complex simplicity, shifting or rearranging the tenets of the composition, the relations of particular characters in space, like a kaleidoscope. I mentioned Cezanne, but there is Cubism too, the classical Hollywood method of representation broken up, scenes taken from different vantage points so that any stability on our part is impossible. It is truly beautiful.

When the Cahiers critics started looking at films as films in the 1950s, concentrating on their cinematic, formal elements, there was predictable reaction from many old-fashioned reviewers, usually British, who saw film as a humanist extension of literature. Penelope Houston even said that the proper study of film should not be spatial relations but character relations. She failed to see that the latter could not exist without the first, a character's relation, and reaction, to space formed character. It is in space that a character performs the actions that reveal his character. It is space, and a character's position in it, that yields insights simple narrative or dialogue would laboriously fumble at.

The great irony at the heart of 'Station' is that the vast, wide open spaces of the West are imprisoned in this formal grid, entrapping characters - the characters' reaction to this entrapment reveals, naturally, their character, as well as shaping the narrative. For instance, a man of Cody's decency and integrity a few decades previously might have been a great frontiersman, civilising the West, creating America. In this world, however, where the old monochrome values are no longer viable, where it's not simply a case of slaughtering Indians, where the frontier spirit has congealed into genocide and murderous greed, he must cut himself off from society, community, fertility, in effect killing off his race, a dead man.

Indeed, the beautiful idea of a man wandering the West for years looking for his probably dead wife, broods with the force of Greek mythology, Orpheus in the Underworld, say, seeking Eurydice, in this case never finding her. The West has become Hell - endless, repetitive, arbitrary, with the ghosts of your past returning to haunt you, never totally exorcised. The film ends with the opening shot in reverse - there is no progress here - the final scene with Nancy is tremendously moving.

Even the old hero/villain divide is ambiguous - Cody owes his life to a genocidal enemy; the fundamentally decent Frank sees no economic choice other than being an outlaw; Cody's stern values aren't adaptable enough to comprehend everything. There is a real homoerotic charge in the relationship between Frank and Dobie which has lasted most of their lives - when Dobie is found floating down the river, an arrow in his back, found by his soaking, grieving buddy, the martyrdom of St. Sebastian comes immediately to mind.

27 of 44 people found this review helpful.  Was this review helpful to you?

Contribute to This Page

Create a character page for: