JohnHowardReid Copyright 3 May 1943 by United Artists Productions, Inc. Presented by Harry Sherman. A film of Harry Sherman Productions, released through United Artists. New York opening at the Rialto: 30 September 1943. U.S. release: 10 September 1943. Australian release: 31 March 1944. 7,149 feet. 79½ minutes. SYNOPSIS: Stranger who reluctantly accepts job as town marshal finds himself being used as a catspaw by local land baron.COMMENT: "Pop" Sherman took time off from "Hoppy" to produce this extraordinarily lavish "B" western, featuring an elaborately destructive saloon brannigan and a multi-stranded chase/shoot-out/dynamite-explosive/hard-riding/siege climax which must rank as one of the most chock-full of action ever!As if its many action highlights were not recommendation enough, Shumate has fashioned a script which allows for some meaty characterizations as well. The villains are particularly colorful: Dekker is in his element as a shady banker, while Victor Jory has one of the finest roles of his career - which he plays with such tremendous panache and style as to usurp Dix's forefrontage as the nominal hero! In fact, Jory's engagingly ambivalent Jeff becomes such a charismatic focus of our attention, the author has no option but to have him perform a Sydney Carton before the fade-out!On the other side of the fence, Jane Wyatt makes a pretty but somewhat colorless heroine. Also surprisingly bland are Eugene Pallette and Robert Armstrong - both on the right side of the law for once. Ranged against them are some splendidly venal, subsidiary, whitecollar villains (Cavanaugh, Baldwin) and thugs (McDonald, Fowley). Stereotyped Willie Best is along for a bit of outrageously offensive comic relief, while Beryl Wallace contributes lively singing to a couple of rousing production numbers including an attractively period-costumed and choreo¬graphed "When Johnny Comes Marching Home Again".The Kansan packs a lot of entertainment into 79 minutes. Classy photography and extensive sets too. A pity the direction rarely rises above the merely competent and that Dix is forced into a hokey romance ("Say, are you always so pretty this early in the morning?"). But you can't have everything.

whitec-3 Any film with Richard Dix is worth a chance not only because he's a likable and powerful figure but he seemed to bounce around the edges of the studio system so that his films vary standard formulas in unpredictable ways. The Kansan's saloon sets are excellent, for instance, and the crowds well directed--other posts mention the remarkably modern dance number (with perspectival backdrops) and the extended brawl with well-choreographed sequences and character highlights. Outdoor cinematography at the toll-bridge across which several incidents of the plot transpire featured impressive depth and angle.A big stable of acting talent also raises this film's quality, but I'll let other posters provide those kudos.My only difference with other posters is their near-blanket condemnation of the Bones character played by the terrific William Best. Certainly most of the film's racial dynamics are regrettably stereotypical, but Dix and Best interact as two smart guys recognizing each other. The film's single best moment for me was when the Jory character enters Best's servant quarters at the Sager Hotel. When Jory walks in, the Bones character is READING, which suggests that not just Willie Best but his character knows that Bones's minstrel persona is an act. Further, when Jory leaves the room, the door swings shut to reveal a portrait of Lincoln.

jetan This probably doesn't deserve the "B Movie" sobriquet. The production values are pretty high and it is quite heavy on the movie stars. This looks to me like it would have taken the A spot on a bill. Dix is good but Victor Jory nearly steals the show. The high point is likely one of the most over-the-top barroom brawls I've ever seen on celluloid. The script is also fine, although nothing too original. The low point in the movie....aside from a really unfortunate racial caricature.... is probably represented by a really ghastly World War II style showgirl routine based around "When Johnny Comes Marching Home". All in all, a satisfying show.

Mike-764 In Broken Lance, Kansas, John Bonniwell averts the Jesse James gang from holding up the town bank, but is severely wounded in the process. When he awakes in the hospital, he finds that he has been elected town marshall, with high recommendations from the bank owner and leading citizen, Steve Barat. Bonniwell accepts the job (especially after getting an eyeful of the hotel owner Eleanor Sager) even though he knows that he was only appointed to become a pawn in Barat's scheme to bleed Broken Lance, and the Kansas, dry. Bonniwell's position is put to the test when Barat sues Bonniwell's friend Waggoner for running his cattle without paying the $1 a head toll enforced by Barat. When he sees that Bonniwell isn't going to be controlled so easily, Barat has Bonniwell's enemies go after him followed by an attempt by Barat's gambling brother, Jeff (who seems to be playing both sides of the standoff, while in love with Eleanor). Bonniwell then starts to rid Broken Lance of Barat's influence without losing his life, or anyone else's, in the process. Very good western with an excellent script, direction, characterization, and performances by everyone. Dix is right at home as Bonniwell, even though he seems awkward at times. Jory gives one of his best performances as Jeff, and his characterization is very surprising and different from others in the genre. The movie also contains one of the biggest barroom free for alls in any western, with everyone getting into the fracas. Only flaw was the climax was not as action packed as other sequences in the movie, but still a winner all the way. Rating, based on B westerns (this may count as a B+ however), 9.