Bearing in mind its problematic production this western hasn't turned out too badly.
By the time he made this Errol Flynn's halcyon days had gone and his stock with Warner Bros was pretty low. He was in his prime and still 'box office' but his lifestyle was beginning to take its toll and his behaviour to test everyone's patience. Of the last two westerns he made before the studio terminated his contract, this one is infinitely better than the second although that wouldn't be difficult!
His co-star Ann Sheridan was herself no stranger to 'the sauce' and by all accounts she and Flynn sat around drinking iced water laced with Vodka.
Moreover director Raoul Walsh excelled in action sequences and soon became impatient with the rather verbose script. It must be said that after the thrilling opening sequence the rest of the film is something of an anti-climax.
Despite all this there is a great deal to recommend this film and its momentum keeps one watching. The direction is taut, the editing by Alan Crosland Jr is razor sharp and maestro Miklos Rozsa has provided a magnificent score.
The performance that stands out is that of Thomas Mitchell. He is a drunk who first becomes Flynn's lawyer and finally becomes the voice of his conscience. His part is the best written and he steals all of his scenes.
There is alas no great chemistry between the two stars and the scenes where they fight are far more effective than those in which they love. Flynn plays his part of a morally ambiguous, self-made businessman with aplomb but Miss Sheridan looks distinctly disengaged and lacks conviction. She was singularly unimpressed with the finished product.
This is far from being a classic western but one is happy to accept its weaknesses in exchange for its strengths.
His co-star Ann Sheridan was herself no stranger to 'the sauce' and by all accounts she and Flynn sat around drinking iced water laced with Vodka.
Moreover director Raoul Walsh excelled in action sequences and soon became impatient with the rather verbose script. It must be said that after the thrilling opening sequence the rest of the film is something of an anti-climax.
Despite all this there is a great deal to recommend this film and its momentum keeps one watching. The direction is taut, the editing by Alan Crosland Jr is razor sharp and maestro Miklos Rozsa has provided a magnificent score.
The performance that stands out is that of Thomas Mitchell. He is a drunk who first becomes Flynn's lawyer and finally becomes the voice of his conscience. His part is the best written and he steals all of his scenes.
There is alas no great chemistry between the two stars and the scenes where they fight are far more effective than those in which they love. Flynn plays his part of a morally ambiguous, self-made businessman with aplomb but Miss Sheridan looks distinctly disengaged and lacks conviction. She was singularly unimpressed with the finished product.
This is far from being a classic western but one is happy to accept its weaknesses in exchange for its strengths.