George Redding In this B&W modern western from Universal-International, Jeff Chandler and Orson Welles do give great performances and thus show great acting skills in this tense drama which, as has been noted, is an a la "High Noon" western: Chandler is very much the answer to the marshal Gary Cooper did portray in the latter-mentioned allusion. In the movie the marshal is forced to stand alone against the wealthy crazed-bigot ranch owner (whom only the sheriff is willing to defy), the role portrayed by Welles. You can't keep from hating the ranch owner and his cohorts as well. The beautiful Colleen Miller does performs well the role of Welles' daughter. Barbara Lawrence, the "nut" Gertie Cummings in "Oklahoma!", is here a totally different person in the role as the sheriff's wife; here, she is a very serious, scared, yet staunch-looking lady. The movie hits hard at the matter of bigotry which is, to state it extremely mildly, politically incorrect. A Chicano is murdered and the sheriff must go after the killer responsible for it taking place. The climax is totally surprising, I feel. I have watched it more than once and the acting and tension sell it more than anything else connected with it. It is worth the time, basically for those reasons.

LeonLouisRicci Less Metaphorical, than the Director's Sci-Fi of the Decade, and more to an Obvious Observation in an Eisenhower Era of Overlooked and Unspoken Racism. The Post-War Spoils enjoyed by Americans of the White-Bread variety were not readily Available to People of Color and Non-Christians.This type of Social Criticism was usually not spoken of in "Polite" Company or around the Dinner Table in White-Picket Fence Suburbia. It was "Left" to the Fringe Elements like B-Movies and Lurid Faced Paperbacks.Socially Conscious Director Jack Arnold, considered one of the Best B-Movie Auteurs teams up with a "Behemoth" of Filmland Orson Welles, who by the Mid-Fifties was fighting for His Life in Hollywood. Out of Favor, Wells was forever Financing His Pictures with "Work for Hire" Acting Gigs, and this was one of them.He brings to the Movie a Larger than Life Character who literally Dominates the Frame with that Booming Voice and Big Stature. Jeff Chandler is meekly dwarfed by Orson in every Scene as the Sheriff with a Moral Compass Standing Alone among the Cowering Townspeople completely Corrupted by Capitalism represented as the "Golden Empire" Ranch, clouding Their Vision with little effort.Film-Noir's Edgy influence is present here, but by this Time in Hollywood moved more often from the City to the Country or Suburban Landscapes where Americans were trying to Escape Urban Squalor becoming more Populated with "Sub-Humans", only to find, at least in the Southwest, "Wetbacks" who weren't even Citizens, let alone Caucasian.Overall, far from being Subtle, this In-Your-Face look at "Trouble in Paradise", combines Genres as it made its "Liberal" Talking Points, and now could be Considered a "Voice in the Wilderness" for the Population that at least Tried to be a Guiding Light to a New Era of Concern yet to be Fulfilled, Sadly, to this Day.

classicsoncall No question this isn't a great film, but I have to say it had me hooked from the outset. I haven't seen Jeff Chandler in much before, but I got into his earnest portrayal of a small town sheriff out to do the right thing, even if it meant bucking up against the local town boss and riling the citizens of Spurline. This had the feel of 'Dragnet' crossing paths with 'Wanted:Dead or Alive', and having Orson Welles on hand was just a bit of icing on the cake.One thing for sure, this picture is a treasure trove of character actors that will have you grasping for names because you've seen them so many times before (at least for old timers like me who grew up on TV fare of the Fifties and Sixties). In no particular order, you've got Paul Fix, John Larch, Leo Gordon, Mort Mills, William Schallert and Royal Dano. Rocco looked familiar too though I couldn't readily place him. TV Westerns of the era would pop one of these guys into a story one at a time, but having them all together in one place is a neat trip down memory lane.No sense in beating a dead horse regarding the story as other reviewers have done so nicely. The payoff here is having the local town folk arrive at the final showdown just in the nick of time since no way it was going to be a fair fight. In that respect, the picture does a one eighty against one of my all time favorites, "High Noon". The look on Orson Welles' face when he realizes the jig is up is just priceless, especially since daughter Skippy (Colleen Miller) earlier vowed she would see him pay for his ruthlessness. Wait a minute - Skippy? Who came up with that one? Interesting side note - who would ever have guessed back in 1957 that a half century later, you could reverse the Royal Dano character's name and come up with an American Idol superstar. There's a trivia question you could have some fun with.

dougdoepke Seems like shapely actress Colleen Miller appears outside her regular clothes about as often as in them, as in nightgown and underwear. But then, the movie posters had to have something provocative to promote.The premise itself has been around the block more than a few times—a reluctant lawman stands up to local tyrant despite opposition from frightened townspeople. Still, the movie works pretty well up to two points where the screenplay buckles—the rope dragging and the town turn-around. Neither of these is very believable within context. But then, the film is on a budget and does have to motivate a wrap-up.I gather producer Zugsmith helped finance Welles' next feature Touch of Evil (1957) in return for appearing here. The part is relatively small, and Welles underplays without the needed malevolence. Seems almost like he's walking through. Nonetheless, it's a solid cast of supporting players, familiar faces from thuggish Leo Gordon to Dragnet's Ben Alexander taking a break from the LAPD. The support works well to provide more color than usual. Rather sad to see that earnest actor Jeff Chandler again, knowing he died unnecessarily at 42 as result of medical malpractice (a foreign object left inside following an operation, as I recall). He's quite good here as the conflicted sheriff struggling to do his duty. All in all, it's a decent enough programmer, better than Zugsmith's usual quickie fare, thanks in large part (I expect) to under-rated director Jack Arnold.