Mit Winchester und Peitsche

Nothing special in this western speaking of a topic so common in this genre: war between cattle owners. It is so predictable that you can't expect any surprise, only watch it to waste time. Edmond O'Brien does his job, a good job as usual. Lesley Selander was a prolific western specialist and this feature will not be a milestone in his career.

"Cow Country" ends up being a pretty good western but I'm not sure I'm going to remember it for very long. It has a good story and a strong cast but it don't have enough to separate it from all of the other B-westerns made around that time. I enjoy a lot of those westerns but some of them don't really standout. "Cow Country" doesn't really standout. Edmond O'Brien does a nice job. His supporting cast is fine including the dreamy Peggie Castle. "Cow Country" was an enjoyable enough movie but with the exception of a great whip beatdown, there's nothing that memorable about it. (IMDB has a 600 character minimum.)

1875 crash in meat market usual cliché--the hidden (but obvious) baddie trying to take over; also the familiar cliché of the hot-headed boss and the loyal guy for no discernible reason.

This film is set in 1875 and apparently the market for beef has crashed. All the ranchers are in dire financial straights because of this. And, like about 75% of the westerns of the era, there is an evil boss-man who is trying EVERYTHING to destroy the ranchers. And, typical of this far over-used cliché, he has a private little army of thugs who steal cattle and kill in. Heck, before any of this occurred, I KNEW what was going on, as the baddie is Barton MacLane--who is almost ALWAYS the evil boss!!

"Cow Country" also has another cliché--not as over-used but still too familiar. There is the strong-willed rancher who won't listen to anyone (Robert Barrat). And, typical of this cliché, there is a nice guy who, in spite of this rancher's pig-headedness, is still very loyal and will do anything to help him (Edmond O'Brien).

Now if you haven't seen hundreds of westerns before, you may not notice these as very familiar characters. In this case, the film will probably be a lot better. All I could think was that I've seen most of this before (apart from the crash in the beef market). It's a shame, as O'Brien and Barrat were fine actors and were, frankly, better than the material they were given.

Cow Country is directed by Lesley Selander and adapted to screenplay by Adele Buffington from Curtis Bishop's novel "Shadow Range". It stars Edmond O'Brien, Helen Westcott, Robert Lowery, Barton MacLane, Peggie Castle, Robert Barrat, James Millican, Don Beddoe and Robert J. Wilke. Music is by Edward Kay and cinematography by Harry Neumann.

Texas ranchers led by floating cowboy Ben Anthony (O'Brien) fight to save their land from crooked banker Marvin Parker (MacLane) and his hired thugs.

We are at the beef collapse of 1875 and this forms an interesting narrative backdrop. Pic is conventional, though, yet it never lacks for in efforts to entertain. There's a ready amount of chases, punch-ups and shootings, all laced with nefarious or heroic deeds, and although the ladies are beautiful, they unfortunately fall foul of under written romantic arcs - though we do get a quite glorious whipping sequence courtesy of Melba (Castle).

It's all very routine but there's enough here for the undemanding Western fan to enjoy, with good casting and performances helping things along. 6.5/10

As Monogram Pictures morphed into Allied Artists, they tried to raise the quality of their projects. As the demand for their B westerns disappeared, they hired some good actors -- among them the incomparable Edmond O'Brien -- and produced this western, directed by long-time Western director Lesley Selander.

I wasn't expecting O'Brien to be convincing as a cowboy, but he is astonishingly good as an ex-cowpoke who is building an express business -- and given a huge oversupply of cattle, he's shipping an awful lot of tallow and hide, all the scrubs are good for. There's a lot more history intelligently explained here than is usual for a B western, the photography is crisp and clean and there are fine supporting actors carrying the roles -- John Millicam is particularly affecting in, for him, a large role.

Selander directs very efficiently -- you can tell that villain Barton Maclane shot his interiors in a block and the action sequences near Lone Pine, where Selander spent most of his professional career are handled to advantage.

The net effect is that everything is much better than a B western, yet the obvious economies make it at best a shaky A. Still, overall it is a superior effort and worthwhile for western fans and a surprisingly unexpected sidetrack for Edmond O'Brien.