In the old West, a small frontier town is being controlled by ruthless mob boss Decker and his cronies. After the local sheriff dies under mysterious circumstances, Decker arranges to have ... See full summary »
Murphy deserts the Union Army to warn former Texas neighbors of impending Indian attacks triggered by Army massacre. He overcomes initial distrust and convinces the homesteaders (all women ... See full summary »
Indian Agent sent to try new approach to peace with Apaches based on respect for automomy rather than submission to Army. Wins over reservation chiefs and the Indian widow (Bancroft) given ... See full summary »
Audie Murphy is again the kid who puts on a badge to catch the bad guy, skillfully played by Barry Sullivan. On the way back to town the two develop a curiously close relationship - ... See full summary »
Jim Harvey is hired to guard a small wagon train as it makes its way west. The train is attacked by Indians and Harvey, hoping to persuade Aguila, the chief, to call off the attack due to ... See full summary »
Murphy plays ex-lawman who must strap on the guns again to catch a former nemesis, McGavin, who happens to be the ex husband of Murphy's wife and father of the boy that believes he's Murphy's son. Written by
It was while filming this movie that Alan Hale Jr. got his casting call for Gilligan's Island (1964). He had to ride out of Zions National Park in St. George, Utah on horseback to the highway and hitchhike to Las Vegas to fly out to the interview. See more »
Logan, don't take any chances. I don't want you to kill him. But if it has to be you or him - if it comes to that - I want you to come back.
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The last of the Audie Murphy's are the best. The early ones are enough to put anyone off watching Budd Boetticher's work.
"Bullet for a Badman" is solidly crafted and, in the scenes of the posse holding off the "murderin' Pachees" that grizzled old timer Tobias warns about, has an effective set piece. The traveling shot where the riders lift above the moving camera, as they gallop up the ridge, must have gotten a cheer in the theatrical runs.
Murphy's character, the Texas Ranger who retired to look after the wife and child of his jailed chum, Darren McGavin, is too saintly for all but the most gullible but McGavin's study in vengeful, shaded macho is just what the film needs. He's surprisingly plausible in the saddle. The men are nicely chosen and effective, with Springsteen's experience showing in the way they ride and handle weapons, used to build their characters - the best cowboy movie tradition.
The women get by in the scrubbed up manner which undermines these films' pretensions to realism.
The colour is OK but Joe Biroc did a lot better and the score, credited on the film to veteran Skinner, is on the glum side. The use of stunt doubles for the leads is too obvious too.
These Universal westerns were good value once they got a hint of production value, even if this one doesn't compare to the best of the Delmer Daves- John Sturges - Anthony Mann cycle.
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