jdcoates As a fan of western movies I find a good bit of those produced before 1950 to be formulaic and predictable, though quality. That said, "Seven Men From Now" is a classic and hold up very well. This movie is IMO where Scott transitions from the standard western movie of the day into what will be come a more "mature" western genre trend beginning in the 1950s. His performance is one of his best, and the opening five minutes where. No spoilers but with this scene he proves, "This is not your father's Scott movie!"

moonspinner55 Married couple from the east, traveling to California by horse-drawn wagon, seeks help from a mysterious man riding through Arizona with an agenda: he's a former-sheriff after the men who killed his wife. Western saga, with beautiful location shooting in Lone Pine, CA, was produced by John Wayne's company, Batjac, but seems a highly inappropriate vehicle for the Duke (one can't sense him displaying second-hand guilt over being unemployed which caused his working spouse to be killed on the job). Screenwriter Burt Kennedy brings in two sidewinders (Don Barry and a frothing-at-the-mouth Lee Marvin) to create tension between the couple and with Randolph Scott, but also throws in Apaches, bank robbers, as well as flirtations between the Mrs. (who has a 'soft' husband) and the ex-lawman. The constant clichés in Kennedy's writing--although probably a lot less stale in 1956 than today--are disheartening. Gail Russell is a lovely presence, but is given nothing to do beyond hanging laundry and offering everyone coffee; Scott is supposed to have feelings for her, but seems surprised every time she calls his name. Director Budd Boetticher has a good eye for composing action scenes, and he obviously enjoys setting up conflict between his characters (most preferably in tight quarters, to make the audience squirm), but he isn't very talented with actors. The picture revived Scott's career, but his handsomely-pained expression has no variance, and his Ben Stride is a dullard anyway. ** from ****

LeonLouisRicci Director Budd Boetticher did seven Movies with Randolph Scott. This was the first. Film Buffs can argue about which one was the best. It doesn't matter. Pick any one and you are on solid ground. They are all examples of the best of the 1950's overload of Westerns.There can also be discussions, that might turn into arguments, about John Ford and Howard Hawks versus Anthony Mann and Budd Boetticher. This can become more contentious. The Former may have had John Wayne, but the latter had James Stewart and Randolph Scott. Where the distinction becomes clear is the Production. Mann and Boetticher made their Movies with a lot less Money and the economy is irrelevant. Except maybe in the running times. Ford and Hawks tend to huff and puff while Mann and Boetticher brood. That is a clear distinction.This one has some really stunning stuff. The opening shot leads the opening scene and both are remarkable, crisply written, and cunning. The greatness is at hand and there is more in the following hour right up to the most unusual of standoffs. When the Bad Guy says as they face each other down..."whenever you are ready"...we witness a most crackerjack draw and shoot...just don't blink or you might miss it. Talk about economy with style.

Spikeopath Seven Men from Now is directed by Budd Boetticher and produced by John Wayne's Batjac Productions. Written by Burt Kennedy it stars Randolph Scott, Gail Russell & Lee Marvin. Music is by Henry Vars & William H. Clothier photographs out of the Alabama Hills and Lone Pine, California.Former Sheriff Ben Stride is on the trail of the seven men; who whilst robbing a Wells Fargo office, killed his wife in the process. Mentally tortured by having lost his job that resulted in his wife having to work at Wells Fargo, Stride is totally driven by hurt and anger. But along the way he helps a married couple who are stuck in the mud; who persuade Stride to ride West with them in case of further problems. They are then joined by a couple of suspect characters who have their own private agenda for tagging along with Stride: all parties seemingly heading for the day when the truth will out.Director Budd Boetticher and leading Western star Randolph Scott made between 1956 and 1960, seven interesting and genre bending films. This was the first of their collaborations, and although it can be said they were merely honing their "Adult Western" bent here, all the traits that would make the upcoming The Tall T, Ride Loneome and Comanche Station so worthy of genre classic status is evident here in this film. Tho simple in plot; I mean man on a mission movies are not exactly rare are they? Seven Men From Now is boosted by a smartly ambiguous turn from Lee Marvin as Bill Masters, while Boetticher's ability to raise his complex and hungry characters above and beyond the standard tale further gives the piece some kudos. Incidents dot themselves throughout the story to keep the film from ever drifting to the mundane, while the location work at Lone Pine, Alabama Hills in California is gorgeous; where we should be thankful to cinematographer William H. Clothier for realising that Boetticher needs his vista to be another character.Originally intended as a vehicle for John Wayne, who took producing duties instead when his schedule wouldn't allow him the time to star, Seven Men From Now gave Randolph Scott a chance to show just what a fine actor he was. His Ben Stride could so easily have been played as corny and grumpy, but Scott gives it the emotional depth that Burt Kennedy's script demanded. Gail Russell (Annie Greer) is the lady of the piece, she ultimately led a sad real life, but at least here as the woman caught between two men, we get to see that she did have the ability when called upon - even if this didn't relaunch her career in the way that her friend John Wayne had originally hoped for. In fact Gail was to sadly succumb to the alcoholism that blighted her life just five years later, aged just 36. Thankfully this film stands up as a fine way to remember her beauty and for the efforts that she put into the Western genre.Lacking the heavy cloud of doom of Boetticher & Scott's best collaborations, this one, however, boasts richly interesting characters that are telling a cunning moral allegory tale. It be an Oater for those who like intelligence over yippee ki-yay like histrionics. 8/10