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"Seven Men From Now" marked the first of seven compact 75-80 minute little westerns starring Randolph Scott and directed by Budd Boetticher. This one was produced by John Wayne's Batjac production company. It was originally intended for Wayne but he was busy on "The Searchers" (1956) at the time, so the role went to Scott. One has to wonder what would have happened had Wayne starred. For instance the running time would probably have had to have been lengthened to elevate it to "A" picture status. As it was it is a compact 78 minute "B" plus classic with an excellent cast and crisp direction.

This picture had been locked away in the Batjac vaults until recently when this and several other Batjac productions were painfully restored to their original brilliance under the direction of Michael Wayne.

Ex marshal Ben Stride (Scott) is on the trail of seven outlaws who robbed the freight office in his town and killed his wife in the process. Stride had been defeated for the job of sheriff and had refused to take the deputy sheriff job, thus he carries the burden of blame for not being there to save his wife.

Stride catches up to two of the men in the opening sequence with predictable results. Later on, he comes upon a young couple, the Greers, traveling west by way of the town that Stride is going to. When we meet John Greer (Walter Reed) and his wife Annie (Gail Russell), they are virtually stuck in the mud. Stride helps them out and decides to travel along with them. Greer seems to be a bit of a milk toast and an attraction forms between Annie and Stride.

Along the trail they meet up with Bill Masters (Lee Marvin) and his pal Clete (Donald Barry). Although Stride suspects that they might be a part of the gang, Masters soon lets it be known that he too is after the $20,000 stolen in the robbery. After a falling out Masters and Clete ride ahead to town and meet the remaining members of the gang headed by Bodeen (John Larch). They learn that the gold is being brought to them in Greer's wagon.

The gang rides out to try and ambush Stride and Masters and Clete ride after them. Out in the country a showdown ensues and..........

This film established the types of characters that would appear in the subsequent six films, the solitary granite jawed hero with a past and the likable but lethal villain. The final six films would be produced by Scott's Ranown production company.

The beautiful but tragic Gail Russell was fighting her personal demons at this time. Her past relationship with John Wayne no doubt figured in her getting this part, which she carries off well. She died at the young age of 36 in 1961. For Marvin, I believe that this was the first time that he was billed above the title. He practically steals the picture as the likable but deadly villain. Walter Reed was a staple of the John Ford stock company and has one of the best roles of his career in this film. Watch for Stuart Whitman as a cavalry lieutenant and Wayne stunt double Chuck Roberson as one of the outlaws. Donald Barry was better known as Don "Red" Barry in the 1940s as the result of having played Red Ryder in the 1940 serial "The Adventures of Red Ryder".

A great little western.

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 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 intoxicating 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 Lonesome and Comanche Station so worthy of genre classic status is evident here in this film. Though 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 captures are gorgeous, and this is where we should be thankful to cinematographer William H. Clothier for realising that Boetticher needs his vista to be another character in his play.

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. As the troubled Ben Stride he could so easily have played him as corny and grumpy, but Scott gives him the emotional depth that Burt Kennedy's script demands. 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 yee-haw like histrionics. 8/10

John Wayne's Batjac productions was the producer of this fine B western and it shows the clout of star power. According to a book I have about those last three B western heroes, Randolph Scott, Joel McCrea, and Audie Murphy, Wayne liked the script and wanted to do it himself, but at the time was tied up with The Searchers. He peddled the script which he owned because Burt Kennedy who wrote it was under contract to Batjac and was doing it under Wayne's auspices to a number of people before getting Randolph Scott. When it premiered Wayne cursed himself that he hadn't done it.

If he had it would have become a classic like The Searchers. Wayne was at the height of his career at that point and Randolph Scott was doing good critically acclaimed, but B programmers that filled the second half of double bills at that time.

Hard to see how the Duke would have been better than Randolph Scott. He's a former sheriff out hunting the men who robbed a Wells Fargo express office and killed his wife who was working there. While on the hunt he runs into Walter Reed and Gail Russell who are a homesteader and wife traveling to California. Scott helps them out and rides along with them. Their story and his get enmeshed as the plot unfolds.

Gail Russell was a tragic figure who was a good friend of Wayne's. She had a lot of problems both emotional and with substance abuse. Like the Duke was wont to do, he gave her a part in this hoping for a comeback. Though she was good, it was not to be the case.

Her husband in the film, Walter Reed, got another chance to work with John Wayne this time in The Horse Soldiers as one of the officers on the raid that Wayne was leading. So did Stuart Whitman who has a bit role as a young army lieutenant. Their chemistry in The Comancheros was legendary.

Speaking of The Comancheros, Lee Marvin is memorable here as one of the villains with some highly mixed motives. And he too would get to work with John Wayne in the future.

Seven Men from Now is a fine film which but for a previous commitment could have been an A picture and a John Wayne classic. But Randolph Scott could hardly have been topped for the performance he gave.

I finally got to see Budd Boetticher's superb Technicolor western "Seven Men from Now" which was long considered a lost classic in 1950s American cinema. The copy I saw was a pre-restored version but in excellent condition. This is Boetticher's first of a series of fascinating, modest, and low-budget westerns with Randolph Scott. The others include "Buchanan Rides Alone", "Decision at Sundown", "The Tall T", "Ride Lonesome", and "Comanche Station".

All of them are superb, but "Seven Men" is really my favorite. As Andrew Sarris astutely observed in his Boetticher entry in The American Cinema, "Constructed partly as allegorical odysseys and partly as floating poker games in which every character took turns at bluffing about his hand or his draw until the final showdown, Boetticher's westerns expressed a weary serenity and moral certitude that was contrary to the more neurotic approaches of other directors in this neglected genre of the cinema". From the stunning opening sequence of Scott coming from behind the camera entering a rocky shelter to the final scene of Gail Russell watching Scott leaving the town, "Seven Men" is an exciting, brooding, and impeccably constructed western. Boetticher deftly uses the vast isolated landscape to comment on the characters' isolation and entrapment. The screenplay by Burt Kennedy is brilliant and witty. The film also features some extraordinary performances by Scott and his clever nemesis, played by the incredible Lee Marvin, a role that somehow anticipates his sadistic Liberty Valance in Ford's "The Man Who Shot Liberty Valance". Scott plays a morally ambiguous ex-sheriff who, while helping an Eastern husband and wife, travel cross-country in their covered wagon, hunts for the seven men shot and killed his wife. The scenes between Scott and Russell are strangely moving and effective. The final showdown between Scott and Marvin is stunning and unforgettable.

Underrated entry in Boetticher-Scott cycle of Westerns. Maybe it's because this was the first collaboration between the two that has kept it overshadowed by better-known entries like The Tall T or Decision at Sundown. Nonetheless, the essential elements are already present: a laconic, embittered Scott, the neolithic Alabama Hills, a villain with some scruples (Lee Marvin), and an excellent script (Burt Kennedy). There's also a couple of neat surprises that make sense.

Note how well that first scene is both conceived and staged. Stranger Scott rides up to campfire where two other strangers sit cozily, drinking coffee. It's cold and Scott wants to sit awhile. Naturally, there's some wariness since these are strangers meeting in a hostile environment. But soon Scott and one stranger (John Beradino) start sounding friendly. Now, Boetticher could have cut between close-ups of the two conversing. But he doesn't. Instead he keeps the silent cowboy in the same frame as Beradino and cuts between them and Scott. This keeps a certain tension alive in the scene because the second stranger looks worried even while Scott and Beradino begin to warm up, and we're reminded of that every time the camera switches to Beradino. Thus, the undercurrent of unexplained unease never leaves the scene, until events climax. It's a brilliantly executed passage that hooks the audience for the remainder. It's also touches like this that lifted the cycle to classic status.

Then too, there's a chance to scope out a young Lee Marvin, about as good an actor as there was at the time. You never know what his talkative villain will do next. Pitting him against the sternly taciturn Scott makes for marvelously contrasting styles. Scott's ongoing role in these movies is a role he apparently was born to play, after starting his career in sappy male leads. Then too, there's the gorgeous and doggedly loyal Gale Russell as the pale-eyed wife. Her scenes with Scott amount to little gems of suppressed desire. But especially qualifying as a classic is the stormy night in the wagon. The tension there builds as Marvin tries to rile Russell's mild-mannered husband (Walter Reed), while Scott and Russell look on. The scene is beautifully played and fairly crackles with cross-currents of emotion as Marvin exploits the growing attraction between the married Russell and the conflicted Scott. My only complaint is the very last scene where the usually sure-handed Kennedy flounders and Russell looks like she just stepped out of a Hollywood beauty salon. Just goes to show, I suppose, the difficulty Westerns traditionally have when deciding on romantic commitment.

Another characteristic in this initial entry is Scott's clear code of honor. It's macho-based but also notable for its gallantry. Scott's not too proud to help Russell hang out the wash, nor will he get overt as long as Russell's married. But just listen when Russell strays into his private concerns, such as that of his dead wife. His voice turns suddenly cold and hard, and you know this is a man with a firm code of honor that will not be compromised, even by an appealing woman. He may not be as personable as villains like Marvin, but there's always that strict code that commands respect and guides his actions.That's the kind of character Scott portrays throughout the cycle, and is a major reason why little gems like Seven Men from Now endure.

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