In the late 1950s and early sixties, Charles Bronson played character roles in big films, particularly westerns, both good (The Magnificent Seven) and not so good (Four For Texas). On occasion, he also picked up a leading role in some offbeat little movie. And while Showdown at Boot Hill is often listed as his 'debut' as a lead (in fact, it isn't), the minor western entry does rate among his earliest. It's one more of the low-key, adult westerns, with a psychologically troubled anti-hero, that were churned out after the success of first The Gunfighter (1950) and then on an even bigger scale High Noon (1952). In truth, the formula was wearing a bit thin by this time, which partly explains why Magnificent Seven hit as big as it did the following year - a new kind of western for a new decade. Meanwhile, though, Bronson comports himself very well as he rides into a small town, shoots it out with a criminal there, and then plans to head back to headquarters for his bounty money. There's only one problem: As the townsfolk all liked the outlaw, they refuse to sign affidavits attesting to Bronson's having killed the guy. Maybe they can't bring him back, but they can prevent Bronson from cashing in on what he did. This would have played far better if Bronson had been identified only as a bounty hunter, i.e. gun for hire. But the writers made the mistake of having him also be a federal marshal, and take it from me, no one would have messed with anyone who carried a U.S. government badge, no matter how they felt about him. One very intriguing element is that, in the western realm of tall men, Bronson is cast as an extremely short guy who is sensitive about his diminutive height. The female lead is played by the little known Carole Matthews, who is good but nothing more. Far better is John Carradine as one of his lanky old loner types. Not necessarily worth going out of your way to see, but if this rides by your trail, take a look, partner.
21 Reviews
Another good 1950s Western
raruston7 June 2007
This was an entertaining film...mainly for the dialog, which at times was hilarious. For example: Saloon scene: When her client passes out, Jill (saloon owner) tells her: "Don't worry..you'll still get your percentage..but girl complains bitterly: "He wasn't even a gentleman..didn't take his hat off! to which Jill replied: "The ones that bother me are the one who don't take their boots off!" When in a western have you ever heard anything close to that in its implications? Bronson is as my mom would say "so homely, he is good looking." Good thing he kept that mop of hair his whole life. John Carradine was super fun to watch...his every word..his facial machinations..his "I've seen it all" attitude. It was very well cast and at times, almost had a "comic book" feel to it. By that I mean, the people were more like caricatures than real people. Yes, if it comes your way and you like 50s westerns, see it!
Charles Bronson and John Carradine
kevinolzak23 March 2014
Better known as a film editor over five decades, Gene Fowler Jr. earned himself a decent resume as a cult director, with seven titles over a three year period, none truly outstanding, but all deserving of praise for one reason or another. 1957's "Showdown at Boot Hill" was preceded by his debut, "I Was a Teenage Werewolf," and followed by "Gang War" (also with Charles Bronson), "I Married a Monster from Outer Space" (his best known), "Here Come the Jets," "The Rebel Set," and lastly, the mediocre Western "The Oregon Trail" (again with John Carradine). "Boot Hill" is chiefly remembered, if at all, as Bronson's very first starring role in a feature film, quickly followed by Roger Corman's better known "Machine-Gun Kelly," and already at this early stage, finds himself immersed in a role which allows him to be gritty and short on talk. Bronson's Deputy U. S. Marshal Luke Welsh arrives in Mound City with a warrant for the arrest of wanted outlaw Con Maynor (Thomas Browne Henry), guilty of killing three men in other territories. He quickly finds his man dining at the hotel and flirting with waitress Sally (Fintan Meyler), hardly batting an eye when the Marshal makes his presence known, almost bragging about his exploits as he gets ready to leave. Determined to collect the $200 bounty on Maynor's head, Welsh allows the outlaw to draw now or journey to St. Louis to be hanged; the expected result has Con Maynor dead, but the hostile townspeople unwilling to identify the corpse. Forced to stick around to try to collect his hard won bounty, Welsh learns how charitable Maynor was in this territory, and how protective they feel toward him, even acknowledging his murderous ways. Bronson's romance of waitress Sally tends to slow down an already actionless Western, but the top notch script by Louis Vittes, low key but sharp, allows the entire cast to shine (incredibly, "I Was a Teenage Werewolf" was the only Fowler title not written by Vittes). Robert Hutton gets second billing as Maynor's number one defender Sloane, praising the dead man for restoring his lost herd of cattle with one he no doubt stole himself, but allowed Sloane two years to pay off. Paul Maxey's part as the de facto judge makes the inquest appear as legal as possible considering everybody lied! Best of all is John Carradine, an old friend of the director's father (all part of the John Barrymore Rat Pack), playing the challenging role of Doc Weber, town barber, who does more shaving and undertaking than he does doctoring. Looking fairly dapper in moustache and beard, Carradine simply lights up the screen, and develops a wonderful rapport with Bronson, working together again in Carradine's very last Western, 1977's "The White Buffalo," again as an undertaker (with Irish accent). Perhaps their best scene together is in the barber shop, Weber informing the Marshal about the dead man's brother arriving at Boot Hill for the funeral, despite the protestations of his customer: "now, I didn't mention any names did I?" He had fine roles in other Westerns of the 50s ("Johnny Guitar," "Thunder Pass," "Stranger on Horseback," "The Kentuckian," "Hidden Guns," and "The Proud Rebel"), but "Showdown at Boot Hill" ranks on top as his best. As for Charles Bronson, this late 1957 production began a brief starring spree, with "Machine-Gun Kelly," "Gang War," and "When Hell Broke Loose," followed by his one TV series lead, MAN WITH A CAMERA. His feature career continued with supporting roles for another decade, but at least his vehicles would grow in stature ("The Magnificent Seven," "Battle of the Bulge," "The Dirty Dozen") before European stardom beckoned with Sergio Leone's "Once Upon a Time in the West."
Solid story with some action
wrbtu26 November 2000
This western with a message starts out fast with an early gunfight, but then slows down considerably & takes things at a leisurely pace for most of the remainder of the movie. Character development, especially of Bronson & his girlfriend, is very good, & meaningful issues are explored (e.g., "Is he a bad guy if he's a model citizen in his town, has helped his neighbors in important ways, but just happens to have killed three people elsewhere?"). The plight of short people is also explored to some extent. Overall, a solid story with some action. I rate it 8/10.
Yes, I Get It
boblipton7 June 2020
In his first starring role, Charles Bronson is a US Deputy Marshal who comes into a small western town, hunting Thomas Browne Henry. There's a bounty on him for killing three men, and when he draws on Bronson, Bronson shoots him down. The town doesn't like it. Henry was a popular figure, ready to sell a string of cattle below price, and wait for his money, so long as you didn't ask where he got them. No one will name him, and so Bronson waits around for a positive identification, so he can collect his bounty money. While he waits, he falls in love with Fintan Mayler, the shy daughter of the town's local bad woman, Carole Matthews. While he waits, there's lots of philosophizing from John Carradine, the town's barber, doctor, and fellow who reads over graves.
Gene Fowler Jr's movie makes its points about violence and loneliness, but does so in too obvious a manner, afraid to let the audience draw its own conclusion. There are plenty of swooping crane shots by cinematographer John M. Nickolaus Jr., straight out of HIGH NOON to make sure we realize this is an important psychological movie.
The performances are good, but everyone tries too hard to make this a superior movie.
Gene Fowler Jr's movie makes its points about violence and loneliness, but does so in too obvious a manner, afraid to let the audience draw its own conclusion. There are plenty of swooping crane shots by cinematographer John M. Nickolaus Jr., straight out of HIGH NOON to make sure we realize this is an important psychological movie.
The performances are good, but everyone tries too hard to make this a superior movie.
BRONSON'S FIRST HEADLINER...SOFT-PEDDLED...SENTIMENTAL...BUT STURDY B-WESTERN
LeonLouisRicci20 August 2021
Steady, but Unremarkable and Uncommonly Sentimental Western, Notable for Future Super-Star Bronson's First Top Billing.
Because it's Bronson the Movie has an Odd Feeling as the Budding Star Slinks into an Introspection Not Usually Found in His Overconfident Macho Screen-Persona.
For Example, much is Made of His 'Short" Stature and Supposed Over-Compensation with His Gun and Killing.
Charles (Bukowski) Bronson was 5'9" Tall...Hardly Short.
The Story Has Bronson Trying to Collect on a Bounty (although he is a Marshall) and the Killer was so Liked in Town that All of Them Turn on Him in a Heart-Beat.
He is Also Forced into a Romantic Affair and the Meeting of Two "Lonely" and Outcast People Find Each Other and Attain Happiness.
The Gun-Play and Violence is Straight-Forward but Energetic and Effective.
John Carradine has a Significant Role as the Only Townie that Warms Up to the Marshall-Bounty-Hunter.
Bronson Fares Better in His Next Starring Role for Roger Corman as "Machine Gun Kelly" (1958).
That's the Bronson that Gained a Fanatical Fan Following.
Because it's Bronson the Movie has an Odd Feeling as the Budding Star Slinks into an Introspection Not Usually Found in His Overconfident Macho Screen-Persona.
For Example, much is Made of His 'Short" Stature and Supposed Over-Compensation with His Gun and Killing.
Charles (Bukowski) Bronson was 5'9" Tall...Hardly Short.
The Story Has Bronson Trying to Collect on a Bounty (although he is a Marshall) and the Killer was so Liked in Town that All of Them Turn on Him in a Heart-Beat.
He is Also Forced into a Romantic Affair and the Meeting of Two "Lonely" and Outcast People Find Each Other and Attain Happiness.
The Gun-Play and Violence is Straight-Forward but Energetic and Effective.
John Carradine has a Significant Role as the Only Townie that Warms Up to the Marshall-Bounty-Hunter.
Bronson Fares Better in His Next Starring Role for Roger Corman as "Machine Gun Kelly" (1958).
That's the Bronson that Gained a Fanatical Fan Following.
Solid Bronson, Carradine acting saves mish-mash of a movie
adrianovasconcelos27 July 2023
I know next to nothing about Director Gene Fowler Jr but it seems to me that he could have done better with the material and the cast that he had for SHOWDOWN AT BOOT HILL.
With the exception of the first DEATH WISH (1974) and CHATO'S LAND, Charles Bronson has not cranked out a better performance. His delivery is clear, he looks convincingly rugged and fit for a marshall and bounty hunter looking for a man who allegedly killed three people.
John Carradine is the town barber cum undertaker and philosopher, and he delivers in style, too.
The B&W photography rates clear, always focused, with some clever angles.
Unfortunately, the script is a mish-mash of contrary emotions, unclear motivations, and men who think nothing of pulling a gun, even knowing the other bloke is a marshall/peace officer, which ultimately renders the film pretty meaningless, with that obligatory relationsip with Meyler at the end... even if there seems to have been no chemistry between Bronson and Meyler. (Carole Matthews, Meyler's mother, would certainly have been a catch, but then we would be wandering into Rod Cameron territory...)
Worth a watch, probably not a re-watch. 6/10.
With the exception of the first DEATH WISH (1974) and CHATO'S LAND, Charles Bronson has not cranked out a better performance. His delivery is clear, he looks convincingly rugged and fit for a marshall and bounty hunter looking for a man who allegedly killed three people.
John Carradine is the town barber cum undertaker and philosopher, and he delivers in style, too.
The B&W photography rates clear, always focused, with some clever angles.
Unfortunately, the script is a mish-mash of contrary emotions, unclear motivations, and men who think nothing of pulling a gun, even knowing the other bloke is a marshall/peace officer, which ultimately renders the film pretty meaningless, with that obligatory relationsip with Meyler at the end... even if there seems to have been no chemistry between Bronson and Meyler. (Carole Matthews, Meyler's mother, would certainly have been a catch, but then we would be wandering into Rod Cameron territory...)
Worth a watch, probably not a re-watch. 6/10.
Good Movie With A Weird Undertone
damianphelps8 December 2022
Charles Bronson pretty much always delivers and Showdown at Boot Hill is no exception. He glides through the film was his normal charisma and magnetism.
The story is a simple one, the needs of a man versus the needs of a community with neither unwilling to bend.
It creates some good moments and a little bit of tension but nothing too over the top.
The strange part of the movie is Bronson's characters small man syndrome. Not that he can't have it but it just came across as unrealistic. He was five foot eight and a half (also my height lol), yet he represents himself as tiny. He's not tall but he's not Danny De Vito either. There is a scene in the pub where they surround him with what appear to be giants just to sell the subplot. It was a little off putting because he couldn't convince me he was a little fella.
Otherwise a good film :)
The story is a simple one, the needs of a man versus the needs of a community with neither unwilling to bend.
It creates some good moments and a little bit of tension but nothing too over the top.
The strange part of the movie is Bronson's characters small man syndrome. Not that he can't have it but it just came across as unrealistic. He was five foot eight and a half (also my height lol), yet he represents himself as tiny. He's not tall but he's not Danny De Vito either. There is a scene in the pub where they surround him with what appear to be giants just to sell the subplot. It was a little off putting because he couldn't convince me he was a little fella.
Otherwise a good film :)
If you like Western movies
imranahmedsg18 November 2022
If you like Western movies then Showdown at Boot Hill will not disappoint.
Yup, it's an old fashioned plot with the usual ingredients of gunfights, good guys, bad guys, sheriff and a love interest (no Indians here though!). That makes the movie predictable but then it was made in 1958, right?
The acting is above average with Charles Bronson delivering on his role. That the movie was filmed in black and white makes events a little more dramatic.
Ok, so it's an old film with a plot typical of its time. Nonetheless, if you enjoy the Western film genre then you can do a lot worse than the short (less than 80 minutes) Showdown at Boot Hill!
Yup, it's an old fashioned plot with the usual ingredients of gunfights, good guys, bad guys, sheriff and a love interest (no Indians here though!). That makes the movie predictable but then it was made in 1958, right?
The acting is above average with Charles Bronson delivering on his role. That the movie was filmed in black and white makes events a little more dramatic.
Ok, so it's an old film with a plot typical of its time. Nonetheless, if you enjoy the Western film genre then you can do a lot worse than the short (less than 80 minutes) Showdown at Boot Hill!
Had Potential
ashew6 December 2006
As with most films that "miss", it almost always comes down to a bad script...as it does here. The subject matter the movie tries to deal with is potentially interesting, and could have had some real emotional impact, but the slow, meandering pace and some goofy dialogue undermine what could have been a good psychological Western. It's really a shame because the directing is actually pretty good, the score feels just right, most of the actors hold their own, and the sets actually look remarkably authentic considering what an extremely low budget this movie clearly had.
Throughout the entire movie I kept thinking that it reminded me of another project, but couldn't put my finger on it...and then it dawned on me that the whole thing has the feel of a 1950s TV Western...it especially reminded me of the way the first season of "The Rifleman" was shot. Not sure if this movie was meant to be the second part of a drive-in movie double-bill, or (based on the quality and running time) if this might have actually been shot as a potential pilot for a TV series...Bronson looks fantastic here...he is young, fit, handsome, and would have made an excellent TV star had he been given the opportunity. This project might have passed as decent enough TV watching, but it misses the mark as a feature film, which is a shame considering its potential.
Not only did the film have potential, but you can see the potential Charles Bronson had if he'd chosen to become an actor instead of a silent-but-deadly action hero over the span of his career. His early work gave him some really good opportunities to emote, but I guess the other direction he went in paid a lot better. I suppose one can't argue with success, but it is interesting to think of what might have been.
"Showdown at Boot Hill" is certainly not worth paying money to rent or buy, but if it comes on cable, it is definitely a harmless enough way to spend an hour and change.
Throughout the entire movie I kept thinking that it reminded me of another project, but couldn't put my finger on it...and then it dawned on me that the whole thing has the feel of a 1950s TV Western...it especially reminded me of the way the first season of "The Rifleman" was shot. Not sure if this movie was meant to be the second part of a drive-in movie double-bill, or (based on the quality and running time) if this might have actually been shot as a potential pilot for a TV series...Bronson looks fantastic here...he is young, fit, handsome, and would have made an excellent TV star had he been given the opportunity. This project might have passed as decent enough TV watching, but it misses the mark as a feature film, which is a shame considering its potential.
Not only did the film have potential, but you can see the potential Charles Bronson had if he'd chosen to become an actor instead of a silent-but-deadly action hero over the span of his career. His early work gave him some really good opportunities to emote, but I guess the other direction he went in paid a lot better. I suppose one can't argue with success, but it is interesting to think of what might have been.
"Showdown at Boot Hill" is certainly not worth paying money to rent or buy, but if it comes on cable, it is definitely a harmless enough way to spend an hour and change.
Beautiful looking, thoughtful western.
pmtelefon22 June 2019
Sometimes people forget how great an actor Charles Bronson really was. He delivers a terrific performance in "Showdown at Boot Hill". The rest of the cast is very good as well. This is also a great looking movie. "Showdown at Gun Hill" is a fast moving, often tense, western. It is also a surprisingly thoughtful movie. I'll be watching it again pretty soon.
Decent Bronson debut that eventually bogs down
westerner3571 August 2003
Supposedly Charles Bronson's first starring role, this involves him playing a bounty hunter named Luke Welsh who has a warrant for a man named Con Maynor (Thomas Brown Henry). Maynor had killed two other men in another town so now he has to answer for that. Welsh meets up with Maynor in the local dining hall/saloon and out draws and kills him. It was all fair and square since Maynor drew first, and Bronson is later exonerated at a local hearing.
The only problem is that the town is not co-operating when Welsh tries to collect proof of Maynor's death in order to collect his bounty. It's seems Maynor was very popular in this town and the people resent Welch for what he did. They take pot-shots at him in the dark while the sheriff stands by and does nothing. See, the sheriff liked Maynor, too.
But Welsh won't leave until he collects that $200 bounty and in order to do that, he has to find out why this town is enamored with Con Maynor. It's later revealed that Maynor stole and killed in other communities and then did good things for this town with a lot of his stolen wealth. A kind of twisted 'Robin Hood' would be the best way to describe it. In other words, Welch is dealing with a corrupt, sleazy town that's in deep denial about Maynor and it's own past.
This oater starts off well, but then it engages in histrionics and psychological emotionalism, especially when Welch tries to 'find himself' while he falling in love with a local woman named Sally (Carole Mathews). It gets to be a bit much as we see the Bronson character do a lot of unnecessary hand-wringing while getting away from all the local action at hand.
At 73 minutes, it could have been cut to an hour which would have made the story tighter and not meander off into unnecessary directions. Besides, not much else happens at Boot Hill other than Maynor getting buried there.
With John Carradine as the barber-undertaker and Robert Hutton as the town foil.
5 out of 10
The only problem is that the town is not co-operating when Welsh tries to collect proof of Maynor's death in order to collect his bounty. It's seems Maynor was very popular in this town and the people resent Welch for what he did. They take pot-shots at him in the dark while the sheriff stands by and does nothing. See, the sheriff liked Maynor, too.
But Welsh won't leave until he collects that $200 bounty and in order to do that, he has to find out why this town is enamored with Con Maynor. It's later revealed that Maynor stole and killed in other communities and then did good things for this town with a lot of his stolen wealth. A kind of twisted 'Robin Hood' would be the best way to describe it. In other words, Welch is dealing with a corrupt, sleazy town that's in deep denial about Maynor and it's own past.
This oater starts off well, but then it engages in histrionics and psychological emotionalism, especially when Welch tries to 'find himself' while he falling in love with a local woman named Sally (Carole Mathews). It gets to be a bit much as we see the Bronson character do a lot of unnecessary hand-wringing while getting away from all the local action at hand.
At 73 minutes, it could have been cut to an hour which would have made the story tighter and not meander off into unnecessary directions. Besides, not much else happens at Boot Hill other than Maynor getting buried there.
With John Carradine as the barber-undertaker and Robert Hutton as the town foil.
5 out of 10
A model citizen?
bkoganbing28 July 2015
Showdown On Boot Hill is an interesting western with an unusual plot premise. It's one of the earliest films with Charles Bronson in a starring role and it casts him as a bounty hunter.
I wish the characters had been developed a bit more. With what little we see of Thomas Browne Henry at the beginning before Bronson kills him in a gun duel is he's something of a lout. Bronson has warrants on him for some killings away from his home area. Henry I have to say makes sure he does not do criminal business where he lives and that's only smart. So when Bronson kills him none of the citizens will identify him including the sheriff so he can collect his $200.00 bounty. He is after all bounty hunter with a badge.
We never know why Henry is considered such a model citizen and that's the main weakness of the story. The whole town turn on Bronson and more than a couple want to do him in.
Showdown At Boot Hill had distinct possibilities. Sad it was given such a mediocre treatment.
I wish the characters had been developed a bit more. With what little we see of Thomas Browne Henry at the beginning before Bronson kills him in a gun duel is he's something of a lout. Bronson has warrants on him for some killings away from his home area. Henry I have to say makes sure he does not do criminal business where he lives and that's only smart. So when Bronson kills him none of the citizens will identify him including the sheriff so he can collect his $200.00 bounty. He is after all bounty hunter with a badge.
We never know why Henry is considered such a model citizen and that's the main weakness of the story. The whole town turn on Bronson and more than a couple want to do him in.
Showdown At Boot Hill had distinct possibilities. Sad it was given such a mediocre treatment.
Fun Seeing Bronson and Carradine Together
Michael_Elliott29 April 2011
Showdown at Boot Hill (1958)
** (out of 4)
Deputy Marshal Luke Welsh (Charles Bronson) is working as a bounty hunter when he finds the man he's been looking for in a small town. The man resists the arrest so Welsh is forced to shoot him, which doesn't sit too well with the people of the town who decide to make it rough on the bounty hunter. SHOWDOWN AT BOOT HILL was the first of two films that Bronson made with director Fowler (the next was GANG WAR) and it's an okay Western even if it doesn't feature anything you haven't seen hundreds of times before. I think the main draw is going to be fans of Bronson who are wanting to see his stuff before he became a major Hollywood star. It doesn't hurt any that the actor gets to act with John Carradine, another man who certainly knew about the highs and lows of the business. Cult fans are certainly going to enjoy seeing the two men together and thankfully they share quite a few scenes. At just 72-minutes the film pretty much has a start (Bronson getting his man) and an end (the showdown) but what happens in between is rather bland and doesn't really go anywhere in terms of action. Sure enough there are a couple of the dead man's friends who take exception and come after Bronson but the action is rather tame and never overly exciting. There's also way too much dialogue because more times than not we have supporting characters just sitting or standing around talking about what they should or shouldn't do. I know this was a low-budget movie but the genre turned out one small budget after another so they could have at least bumped the energy level up a bit. I was surprised to see how well the romance between Bronson and a local waitress (Fintan Meyler) turned out. There's a subplot about Bronson's shyness with girls and his depression about being short that's rather interesting to see simply because most won't be use to seeing Bronson play a softie. The actor does a pretty good job with the part even though it really doesn't ask him to do too much except act tough. Again, Bronson handles some of the more dramatic stuff but we're not talking Shakespeare here. Carradine pretty much walks through his role as a barber/doctor/preacher and he's always fun to see. Carole Mathews is pretty good as the love interest's mother and Robert Hutton plays one of the bad guys. If you're expecting the work of John Ford then it's best to look elsewhere because this movie doesn't offer anything too original. Fans of Bronson and Carradine are going to be the ones who want to check this one out.
** (out of 4)
Deputy Marshal Luke Welsh (Charles Bronson) is working as a bounty hunter when he finds the man he's been looking for in a small town. The man resists the arrest so Welsh is forced to shoot him, which doesn't sit too well with the people of the town who decide to make it rough on the bounty hunter. SHOWDOWN AT BOOT HILL was the first of two films that Bronson made with director Fowler (the next was GANG WAR) and it's an okay Western even if it doesn't feature anything you haven't seen hundreds of times before. I think the main draw is going to be fans of Bronson who are wanting to see his stuff before he became a major Hollywood star. It doesn't hurt any that the actor gets to act with John Carradine, another man who certainly knew about the highs and lows of the business. Cult fans are certainly going to enjoy seeing the two men together and thankfully they share quite a few scenes. At just 72-minutes the film pretty much has a start (Bronson getting his man) and an end (the showdown) but what happens in between is rather bland and doesn't really go anywhere in terms of action. Sure enough there are a couple of the dead man's friends who take exception and come after Bronson but the action is rather tame and never overly exciting. There's also way too much dialogue because more times than not we have supporting characters just sitting or standing around talking about what they should or shouldn't do. I know this was a low-budget movie but the genre turned out one small budget after another so they could have at least bumped the energy level up a bit. I was surprised to see how well the romance between Bronson and a local waitress (Fintan Meyler) turned out. There's a subplot about Bronson's shyness with girls and his depression about being short that's rather interesting to see simply because most won't be use to seeing Bronson play a softie. The actor does a pretty good job with the part even though it really doesn't ask him to do too much except act tough. Again, Bronson handles some of the more dramatic stuff but we're not talking Shakespeare here. Carradine pretty much walks through his role as a barber/doctor/preacher and he's always fun to see. Carole Mathews is pretty good as the love interest's mother and Robert Hutton plays one of the bad guys. If you're expecting the work of John Ford then it's best to look elsewhere because this movie doesn't offer anything too original. Fans of Bronson and Carradine are going to be the ones who want to check this one out.
A very realistic western!
RodrigAndrisan9 April 2020
A very young Charles Bronson, one of my always loved actors, in a bounty hunter role in a pure western. It is also his first major role in a movie, until
then he had only played minor characters or small roles, often not being even credited. And, he does an excellent job, he is convincing, realistic, credible,
natural. The whole movie is actually very believable and realistic, not like thousands of other westerns where we only see shots, beats, salon scenes and
horses running all over the place. Or, if we don't see horses, we see cows. Hence the name of cowboy films. It has a simple story, decent, more psychological than free action. There are also some shots, exactly as it should, not exaggerated as in most westerns, well, except for those made by Sergio
Leone or John Ford. It is also a sad love story between Bronson and Fintan Meyler, she very convincing too in the role of a salon maid. A movie worth
recommending to everyone, not just for Charles Bronson's fans.
Starts off with great guns, but soon loses audience interest!
JohnHowardReid21 July 2017
Warning: Spoilers
For a while there we were congratulating ourselves for finding a Regalscope movie worth watching. Interesting players, an intriguingly novel and promisingly suspenseful plot situation, and above all, atmospheric photography abetted by a director who knew how to compose his images forcefully for the wide-wide screen and how to move his camera dramatically through the back-lot western streets.
Alas, at the very point when you might truly say, "And this is where the story really starts!" — at this very point where all the initial plot elements fall firmly into place with the townsmen shooting up the photographer's studio and thus forcing our boorish hero to stay in the town, this is where the picture falls apart.
How? You guessed it: a tiresome love interest is introduced. The girl is played by newcomer Fintan Meyler, her making the third of three movie appearances. She never made another film after this effort, but of course she did have a sizable career on TV — and no wonder! She's certainly no looker, plus she's as torpid and colorless as a wax dummy, fresh from the mold. And that's the exact sort of woman that sponsors like on TV. She doesn't take audience interest away from the commercials.
Hero Bronson is no bargain either. Not only is his acting strictly on the one surly note throughout, but enormous emphasis is given to the "fact" that he is short. In fact, he tells Fintan this is the very reason he turned to bounty hunting.
Well, I hate to disagree with Charlie Bronson, but I don't think of him as a little squirt at all. Even judging his stature by this movie, he looks pretty average size to me. I never thought of him as an Alan Ladd type, so all this neurotic talk about what a sawn-off half-pint he is, made no sense at all to me. All it did was waste so much time that when the climax with the showdown finally did roll around, it took an effort to wake up from my stupor and re-focus my attention.
A large slice of close-ups handed to Argentina Brunetti didn't help either. She's such a hammy actress, even a small serving of Brunetti is enough to put you off a picture.
Whilst the camera-hogging Bronson, Brunetti and Meyler are boring us all to distraction, director Fowler is resting from his labors. Gone are the tight, widescreen compositions and the moodily prowling camera-work. Instead it's close-ups all the way. And such faces! Even Carradine turns out to be a bit of a bore. The only really decent player, Henry, is killed off in the first few minutes.
A bit of action at the climax doesn't compensate for all the seemingly endless verbiage that lies between.
Alas, at the very point when you might truly say, "And this is where the story really starts!" — at this very point where all the initial plot elements fall firmly into place with the townsmen shooting up the photographer's studio and thus forcing our boorish hero to stay in the town, this is where the picture falls apart.
How? You guessed it: a tiresome love interest is introduced. The girl is played by newcomer Fintan Meyler, her making the third of three movie appearances. She never made another film after this effort, but of course she did have a sizable career on TV — and no wonder! She's certainly no looker, plus she's as torpid and colorless as a wax dummy, fresh from the mold. And that's the exact sort of woman that sponsors like on TV. She doesn't take audience interest away from the commercials.
Hero Bronson is no bargain either. Not only is his acting strictly on the one surly note throughout, but enormous emphasis is given to the "fact" that he is short. In fact, he tells Fintan this is the very reason he turned to bounty hunting.
Well, I hate to disagree with Charlie Bronson, but I don't think of him as a little squirt at all. Even judging his stature by this movie, he looks pretty average size to me. I never thought of him as an Alan Ladd type, so all this neurotic talk about what a sawn-off half-pint he is, made no sense at all to me. All it did was waste so much time that when the climax with the showdown finally did roll around, it took an effort to wake up from my stupor and re-focus my attention.
A large slice of close-ups handed to Argentina Brunetti didn't help either. She's such a hammy actress, even a small serving of Brunetti is enough to put you off a picture.
Whilst the camera-hogging Bronson, Brunetti and Meyler are boring us all to distraction, director Fowler is resting from his labors. Gone are the tight, widescreen compositions and the moodily prowling camera-work. Instead it's close-ups all the way. And such faces! Even Carradine turns out to be a bit of a bore. The only really decent player, Henry, is killed off in the first few minutes.
A bit of action at the climax doesn't compensate for all the seemingly endless verbiage that lies between.
The Boot Hill Showdown
Oslo_Jargo27 March 2017
Warning: Spoilers
*** This review may contain spoilers ***
*Plot and ending analyzed*
Showdown at Boot Hill (1958) is interesting, but it fails to elevate itself above standard fare. It's short on action and horse scenes, mainly concentrating on the effects of a shootout. The shootout pits Charles Bronson as a deputy marshal bounty hunter who wants to take some murderer in. The murderer draws his gun on him and dies. The result being that everyone in the town turns against Charles Bronson, who needs witnesses for his affidavit to collect his reward.
Charles Bronson does not yet have that strong charisma to carry a picture, he is fine acting wise, but a bit stolid. His character also has a "Napoleon complex" (Bronson is of short stature). The "Napoleon complex" is absurd and doesn't seem to explain his motivations.
Charles Bronson falls for some woman who is also equally socially inept. Eventually the town wants to kill him and organizes a mob.
It's average stuff for Western fans.
*Plot and ending analyzed*
Showdown at Boot Hill (1958) is interesting, but it fails to elevate itself above standard fare. It's short on action and horse scenes, mainly concentrating on the effects of a shootout. The shootout pits Charles Bronson as a deputy marshal bounty hunter who wants to take some murderer in. The murderer draws his gun on him and dies. The result being that everyone in the town turns against Charles Bronson, who needs witnesses for his affidavit to collect his reward.
Charles Bronson does not yet have that strong charisma to carry a picture, he is fine acting wise, but a bit stolid. His character also has a "Napoleon complex" (Bronson is of short stature). The "Napoleon complex" is absurd and doesn't seem to explain his motivations.
Charles Bronson falls for some woman who is also equally socially inept. Eventually the town wants to kill him and organizes a mob.
It's average stuff for Western fans.
Very good western!
hpringnitz23 March 2022
A Town that Prefers a Murderer to a Bounty Hunter
Uriah4326 June 2019
This film begins with a deputy marshal from St. Louis named "Luke Welsh" (Charles Bronson) riding into a small town to apprehend a fugitive by the name of "Con Maynard" (Thomas Browne Henry) who is wanted for several murders. Not wanting to be taken in to face justice Con Maynard decides to go for his gun and Luke shoots him dead. Naturally, since the bounty states that Con was wanted "dead or alive" Luke figures that there will be no problem collecting his reward as all he needs to do is get the coroner or somebody else in town to identify him in writing before he heads back to St. Louis. What he doesn't count on, however, is that everybody in this small town liked Con Maynard and as a result they all refuse to help. Not only that, but their animosity for bounty hunters is so bad that they also notify Con's brother "Charles Maynard" (George Douglas) who they fully expect to come and extract some measure of revenge. Now rather than reveal any more I will just say that this was an okay grade-B western made somewhat interesting by the presence of Charles Bronson in the lead role. And while it certainly had some slow scenes here and there, I thought that it was good enough for the time spent and for that reason I have rated it accordingly. Average.
A Refreshing, Psychological Western!!!
zardoz-1327 July 2023
Warning: Spoilers
The bounty hunter is one of many stock characters in both American westerns and European horse operas. Universally reviled in virtually every American western until "For A Few Dollars More" (1965) cashed in on the character during the Spaghetti western craze. In Hollywood westerns, the bounty hunter was almost always unsavory, untrustworthy, greedy and more often peripheral. This murdering scum had no qualms about shooting his quarry in the back rather than bringing him in alive. One of the first 'sympathy for the bounty hunter' westerns was director Gene Fowler Jr.'s "Showdown at Boot Hill," a Regalscope release Lensed in glorious black & white by John M. Nickolaus Jr., this low-budget oater looks simply spectacular with its 2.35.1 widescreen imagery. Chiefly known for his prolific television work, Nickolaus Jr. Served as a cinematographer on some vintage 1960's westerns, horror chillers and sci-fi sagas. Among them Roger Corman's "The Terror" (1960), "Young Guns of Texas" (1962), "The Day Mars Invaded Earth" (1962), "House of the Damned" (1963), "Guns of Diablo" (1964), and "Four Fast Guns" (1960). Sure, these low-budget, drive-in movies amounted to nothing memorable, but "Showdown" stands out from the pack. Fowler, Jr., and Nickolaus Jr., have taken Louis Vittes's intriguing premise and enhanced it with suspenseful pacing and attractive visuals. There are no bland compositions in the entire picture. The dusty little hamlet of a town that "Showdown at Boot Hill" plays out in has an authentic touch to it. Of course, since this is a Regal Pictures release, which was a subsidiary of 20th Century Fox, the town here appeared in Edward Dmytryk's "Warlock" (1959).
This western boasts Charles Bronson's steely-eyed performance as a tough guy in his first starring role. Long typecast as a villain, Bronson now plays a sympathetic protagonist, Marshal Luke Welsh, who tracks down a desperado, Con Maynor (Thomas Browne Henry of "The Domino Kid"), to the sleepy town. He confronts him in the dining room of the hotel and kills him in self-defense in a fair fight. Unfortunately, for Luke, nobody wants to identify Maynor, so our hero cannot collect $200 bounty money. Virtually everybody in town loathes him vigorously except Sally Crane (Fintan Meyler of "Zero Hour!"), a plain-Jane type who waits tables in the hotel dining room. Unbelievably, Welsh winds up taking Ms. Crane to a town dance, but townspeople shun them and drive them out. During one scene in Crane's hotel room, we learn Luke has always felt self-conscious about his short stature. Similarly, Sally is ashamed of herself, because she was the illegitimate child of a dance hall tramp, Jill Crane (Carole Mathews of "Swamp Women"), who warbles songs for her customers in her saloon. Poor Sally struggles to live under the burden of disgrace in the town's eyes. Before long, Luke and Sally and Welsh are attracted to each other after a brash first encounter where Welsh barges into her hotel room. Of course, by this time, Welsh has outdrawn every foe in a gunfight and has established a reputation. He displayed his lightning swift draw as one gunman, Sloane (Robert Hutton of "The Slime People"), could later attest from first hand. Welsh blew Sloane's gun out of his hand in a duel. Moments before this shooting, Welsh had gunned down his quarry in a saloon shootout. Scenarist Louis Vittes's screenplay contains psychological elements, tragedy, violence, and romance. The ending is rather offbeat, and what happens to our hero is a welcome change, though hardcore western afficionados may feel cheated by the outcome.
This western boasts Charles Bronson's steely-eyed performance as a tough guy in his first starring role. Long typecast as a villain, Bronson now plays a sympathetic protagonist, Marshal Luke Welsh, who tracks down a desperado, Con Maynor (Thomas Browne Henry of "The Domino Kid"), to the sleepy town. He confronts him in the dining room of the hotel and kills him in self-defense in a fair fight. Unfortunately, for Luke, nobody wants to identify Maynor, so our hero cannot collect $200 bounty money. Virtually everybody in town loathes him vigorously except Sally Crane (Fintan Meyler of "Zero Hour!"), a plain-Jane type who waits tables in the hotel dining room. Unbelievably, Welsh winds up taking Ms. Crane to a town dance, but townspeople shun them and drive them out. During one scene in Crane's hotel room, we learn Luke has always felt self-conscious about his short stature. Similarly, Sally is ashamed of herself, because she was the illegitimate child of a dance hall tramp, Jill Crane (Carole Mathews of "Swamp Women"), who warbles songs for her customers in her saloon. Poor Sally struggles to live under the burden of disgrace in the town's eyes. Before long, Luke and Sally and Welsh are attracted to each other after a brash first encounter where Welsh barges into her hotel room. Of course, by this time, Welsh has outdrawn every foe in a gunfight and has established a reputation. He displayed his lightning swift draw as one gunman, Sloane (Robert Hutton of "The Slime People"), could later attest from first hand. Welsh blew Sloane's gun out of his hand in a duel. Moments before this shooting, Welsh had gunned down his quarry in a saloon shootout. Scenarist Louis Vittes's screenplay contains psychological elements, tragedy, violence, and romance. The ending is rather offbeat, and what happens to our hero is a welcome change, though hardcore western afficionados may feel cheated by the outcome.
HE DID IT TOUGH
davidalexander-6306820 November 2022
Here's a worthwhile western starring Charles Bronson in a very early lead role well before the Death Wish series established him as a superstar. Actually, Bronson had been honing his image as a tough guy all through the 50s in all those TV westerns and Alfred Hitchcock Presents shows as well as supporting roles in a clutch of movies. I remember seeing him in The House of Wax as a body snatcher with Vincent Price. But his name appears in the credits not as Charles Bronson but Charles Buchinsky, his real name. It is said he adopted the Bronson surname from a street near the Paramount Studios (look it up, you'll find it). I love working my way through all his TV roles where he made guest appearances. You'll see him in an episode of Rawhide with Clint Eastwood, for instance. And he had his own show, Man With A Camera, well worth watching. Man, he was a busy , busy boy! In mentioning The House Of Wax with Vincent Price, he made another movie with Vincent Price called Master Of The World. I'm not a sci-fi fan so maybe I should not comment on this one, but I consider it a shocker. What Charles Bronson was doing appearing in this load of twaddle, or for that matter , that master of suspense Vincent Price , is beyond me!
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