Das letzte Fort

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.

Warner Brothers had a thing for "city westerns" ever since the success of DODGE CITY in 1939. In its wake followed VIRGINIA CITY, SAN ANTONIO, CHEYENNE, DALLAS, CARSON CITY and this 1951 tale, the last film of director Edwin L. Marin. Marin and star Randolph Scott had previously worked on many films together, including some oaters for RKO as well as Christmas EVE, Scott's last non-western. Here they were doing a follow-up to their successful COLT 45 for Warners in 1950.

In this one, Scott stars as a reformed gunman, now "shooting" lead type from a printing press rather than bullets from a six shooter. Not intending to set up shop in his old home town, when he comes across a nearly vanquished Ft. Worth, and spurred by the death of a child which was the result of a cattle stampede caused by the errant shot of of member of the Clevenger Gang, Scott opts to use the power of the press to bring settlers back to the city and achieve justice for the slain boy. The death of a child is a plot turn that goes back to the first in the series, DODGE CITY. In that film the child was played by Dickie Jones, here, twelve years later, Jones plays Scott's reporter Luther Wick, soon he'd be on his way into the hearts of millions of kids in the series THE RANGE RIDER, followed by BUFFALO BILL, JR.

David Brian co-stars as a man banking his future on the future of Fort Worth by buying up options on properties abandoned by those terrorized by the Clevenger gang. But as Scott's mentor wonders, if Brian cares so much for the town, why is he letting its population dwindle from 5000 to less than 1000? Could it be to be able to secure more options, is he in cahoots with Clevenger? Plot twists cause he and Scott to take on an alliance at times, while at others, they're inches away from gunning each other down, and rivals for the hand of Phyllis Thaxter.

Clevenger is played by Ray Teal, known to most as Sheriff Coffee from BONANZA. Often villainous in these things, he outdoes himself here by occasionally being quite charming in his delivery - perhaps his glee at being given more dialog than he usually gets and more screen time also. Another fine performance is given by Emerson Treacy as Ben Garvin, Scott's partner in the Fort Worth Star and his teacher in ways of the press. Usually uncredited in scores of films, he makes the most of his screen time.

The DVD offers glorious Technicolor, the detail right down to Scott's pearl-handled pistols is a sight to behold. The film is packaged with two other Randolph Scott features, COLT 45 and TALL MAN RIDING. and at 15 bucks list price, they're one of the great bargains a Scott fan is likely to find.

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 plays a pacifist who has given up the gun for the pen – or the printing press – and he's not entirely convincing, perhaps simply because we're so used to seeing him blazing away at the bad guys in the seemingly endless succession of Westerns he made in the 1940s and 50s. He returns to Fort Worth with his business partner to start up a local newspaper with the prime objective of ridding the dying town of slimy bad guy Clavenger (Ray Teal) who is riding roughshod over the place and driving away the peace-loving residents. Scott's character also re-unites with Blair Lunsford, one of film history's more ambiguous villains in the reassuringly swaggering form of David Brian. Lunsford is capitalising on Clavenger's terrorising of the locals by buying their property cheap when they decide to move out.

The story is fairly unusual and not without interest, but it's Brian's character who leaves the most lasting impression. Is he a bad guy, or just an ambitious man making the most of the misery of others without actually contributing to that misery? The film never really tells us, and doesn't really seem able to make up its mind. He genuinely likes Scott's ramrod-straight good guy, and only turns when he finds himself backed into a corner. Anyway, despite its rather unique storyline, the film's conclusion is fairly predictable.