Das letzte Fort

When the Lone Star Sate was split wide open , the Civil War veteran and former newspaper man called Ned Britt (Randolph Scott) linked it together with lead . As Ned returns back to Fort Worth after the war is over and finds himself fighting an old friend , Blair Lunsford (David Brian) , who's grown ambitious . The conflict between the two men roars across the Western plains and railway . With the numerous presence of homesteaders this town called Fort Worth prospered , stabilized and grew , its lawabiding citizens decide to hire a new sheriff , Ned Britt who is also a newspaper editor . Meanwhile , Britt is distracted by girl-next-door Flora Talbott (Phyllis Thaxter) and attractive Amy Brooks (Helena Carter).

This exciting picture gets Western action , shootouts , thrills , a love story , and results to be quite entertaining . And the pace of action , tightly edited , never drops . The film is totally set in Fort Worth , Texas , which was one of the main railhead cattle towns till railway arrival . The movie has great scenarios , adequate production design and appropriate settings . However , three train scenes are taken directly from Dodge City (1939) , as the race with the horse-driven stagecoach along the tracks; the burning carriage and subsequent escape on horseback ; the triumphal arrival of the train in town, right at the end . Veteran Western star , Randolph Scott , once again proves that his roles are tough to double-cross or murder in this acceptable Western . Scott is supported by David Brian , he is ideally suited to the character of the suspicious friend who may or may not be on the side of Law and Order . Secondary cast is pretty good such as seductive Helena Carter , baddie Ray Teal , Michael Tolan , Walter Sande , Bob Steele and special mention for goodie as well as fatty Chubby Johnson as likable but coward sheriff .

Thrilling and atmospheric musical score by David Buttolph . Glamorous and glimmer cinematography in Technicolor by Sidney Hickox . This bullet-a-minute Western about bandits attempting to hold up the progress of a railroad was directed in sure visual eye by Edwin L. Marin , at his final film . As he died two months before its release . He realized a variety films of all kind of genres , though especially Western , the best are starred by Scott , all well screen-written (as Abilene town , Canadian Pacific , Cariboo trail , Fighting man of the plains) . In fact his last films were Westerns until his early death at 52 . Rating : 6.5/10 , a nice feature horse-opera in every respect .

Better than average script-writing, good production values and some nice twists helps Fort Worth rise above the usual B-western effort.

The plot is somewhat reminiscent of The Man Who Shot Liberty Valance, though it precedes it by a decade!

Randolph Scott, having hung up his guns following the Civil War, returns to his hometown of Fort Worth to start a newspaper. His first target is a group of murderous cowboys who killed a boy in a deliberate stampede. Soon he begins to suspect he's being manipulated by his old friend, a shifty businessman who would benefit greatly from the elimination of the cowpokes.

David Brian gives a good performance as Scott's friend/nemesis and the film does a good job at keeping his character ambiguous right up till near the end.

Randolph Scott was such a wonderful actor that his films were always at least a notch above the rest. While this is about average for a Scott film, it's clearly head and shoulders better than a typical western. Even with the overuse of old footage from another Warner Brothers western (DODGE CITY, 1939), the film still manages to shine. Most of the old footage works just fine, though some is indeed grainier and a few times actors from the second film change hat and clothes when they switch to actors from the old film!! Pretty sloppy...but it can be overlooked.

Scott plays a tough newspaper man who moves back to his old home town of Fort Worth. The city is dying due to two men. One is an obvious bully and leader of a gang of thugs who break laws with impunity. The other, played by Film Noir favorite David Brian, is an opportunist who is buying up land right and left--at pennies on the dollar from people who are leaving the violent town in droves. While the first guy is an obvious baddie, Brian is a cypher. Scott thinks Brian is evil and a megalomaniac but again and again throughout the film Brian proves he really is interested in the town. Could Scott be wrong? And, can Scott print the truth without getting his head blown off instead?! The film does well because the plot is more original than most westerns. Also, Brian is a very good heavy--not as predictable and nasty as most. Overall, this is a must-see for Scott fans and would be enjoyable to most.

Out of Warner Bros, Fort Worth is directed by Edwin L. Marin and written by John Twist. It stars Randolph Scott, David Brian, Phyllis Thaxter, Helena Carter, Dickie Jones & Ray Teal. A Technicolor production, the exteriors are shot on location at Iverson Ranch, Chatsworth, Los Angeles & Warner Ranch, Calabasas, California. Photography is by Sidney Hickox & David Buttolph scores the music.

Former gunfighter Ned Britt (Scott) sets up shop as a newspaper printer in Fort Worth, Texas. But he may have to come out of gunman retirement since a gang of outlaws are intent on running things their way. Not only that but Ned is falling for Flora Talbot (Thaxter), the fiancée of a former friend, Blair Lunsford (Brian).

This was actually Edwin L. Marin's last film before he would sadly pass away the same year. No more than a jobber director, he was, however, very capable in crafting a Western story; particularly when Scott was his leading man. Such is the case here. On first glance the plot has that familiar and unadventurous look to it. Hell, sometimes all we want from our 50s B grade Westerns is Randy Scott taking up arms and slaying some ruffians. Yet Twists' story throws up a number of interesting points of worth, notably the core weapon in the narrative of the pen being mightier than the sword (or 6 shooter in this instance). It also launches itself from an attention grabbing tragedy, from which Scott's character really has to take stock of things once he gets in town.

True enough to say this is more talky and character forming than the many "yeehaw" histrionic based Western B's from the 50s. But this does have enough adrenalin boosting scenes to see off any charge of it being mundane. Train robberies, a stampede, shoot outs and plenty of shifty stalkings put in an appearance. While it also has some extremely cool moments to digest: a switch gun manoeuvre between Scott & Brian is cheekily great; and the sight of Scott finally strapping on his pearl handled guns is akin to Clark Kent donning the red underpants and cape. Seriously. Technically there's some stock footage that only itches rather than hinders (if you have seen Dodge City it's déjà vu), but by and large this is a gorgeous production; one that's got a tremendous transfer on to DVD.

Attention to detail in its narrative and smartly acted by the principals, Fort Worth is well worth the time of the discerning Western fan. 7/10

Fort Worth is a well turned out Technicolor Western that packs a full load of action, colorful dialog, robust character studies, and engaging plot twists into 80 minutes of running time. The formidable entertainment value of this unpretentious B-plus oater gets a considerable boost from the charismatic screen presence of second lead David Brian. Tall, brawny, and blond, the steely-eyed, gravel-voiced Brian dominated virtually every picture he was in, and this one is no exception. Michael Curtiz once said that Randolph Scott was the only gentleman he had ever known in the movie business. It is to be hoped that top-billed Scott was a good sport during the filming of Ft. Worth, because Brian almost completely stole the spotlight as the swaggering empire builder who is the old friend, sometimes adversary, sometimes ally of crusading newspaperman Scott. The screen seems to simply come alive every time Brian steps in front of the camera. The dynamic Brian was the perfect foil for the mild-mannered Scott, and their alternately tense, cordial interaction is the great asset of this picture.

But not the only one. A fine supporting cast is led by Ray Teal, as a smirking villain, and Phillis Thaxter, the wholesome love interest over whose affections Scott and Brian inevitably clash. Cinematography in gorgeous three-strip Technicolor by Sid Hickox, sets, and costumes all have a first rate look. John Twist's original screenplay is complex and intelligent. His colorful dialog is disarmingly amusing as his characters spout such rustic metaphors as, "You've knocked a hole in my fence all right, but you may tear your britches if you jump through it too quick!" and "Don't swing on the gate too long, or you may get a belly full of horns!" Edwin L. Marin's direction is tight and on target with nary a camera shot wasted. Marin made a career of turning out medium budget pictures, equally at home with Philo Vance mystery thrillers or Ann Sothern's light comedies. He turned to Westerns, for which he seemed to have a special touch, late in his career, beginning with John Wyane favorite Tall In The Saddle (1944). Two years later he directed Randolph Scott for the first time in the tough, "noirish" Western Abilene Town (1946), followed by a half-dozen more collaborations in the late 'forties and early fifties. Scott seemed at his best under Marin's guidance. Unfortnately Marin died suddenly in May 1951 after Fort Worth had been filmed but before its release.

For my money Fort Worth, along with Abilene Town, is one of Scott's best Westerns, fast-paced, action-packed, dramatically engaging, beautifully filmed, entertaining from beginning to end. Not a classic, but a good one from the waning days of Old Hollywood's Golden Era.