Zwei in der Falle

Tyrone Power and Susan Hayward star in "Rawhide," a 1951 western about convicts who take over a stagecoach station and plan to rob a morning stage carrying gold. The film sports an excellent cast, including Edgar Buchanan, Hugh Marlowe, Dean Jagger, and Jack Elam.

Hayword and her niece are held over at the station because of possible danger ahead. When she and the child go into the canyon to bathe, she takes Power's gun. When the robbers come on the scene, she hides behind the cattle troth, but the baby cries and reveals her position. She drops the gun there.

Back at the station, the criminals assume that Power is her husband. The two now have to figure out how to get out of their situation with no gun.

This is a very suspenseful, sometimes violent, sometimes scary movie with Marlowe in the unusual role of being an educated, cold-blooded killer trying to manage his motley crew.

Elam is menacing as a foolish, oversexed villain, with Dean Jagger and George Travis being appropriately moronic. Edgar Buchanan has a small role, appearing only in the beginning of the film.

Susan Hayward is beautiful and a real firecracker in her role. She and Power worked well together, appearing also in "Untamed" later on. Power is 10 years too old for his part - he's supposed to be a young man learning the business. "When the green wears off and you get a little older..." Hugh Marlowe says to him - Power was 37 and, by old west standards, not young.

The script was not changed to accommodate him. At this point in his career, he was anxious to fulfill his obligations to Fox and probably didn't make a fuss about it. He does an excellent job in the role of a man in a difficult situation nevertheless and looks very handsome. The character is a bit of bumbler at first, and Power carries this off in an amusing manner.

Surprisingly good, and I think non-western fans like myself will enjoy it, and the final scene will keep you on the edge of your seat.

Rawhide is a moderately suspenseful hostage drama with polished direction, great location filming, and a fine cast.

Tyrone Power is a likable if somewhat bland hero.

On the other hand, Susan Hayward's character was kind of annoying in the beginning but softens a bit as the film progresses. I wish the writers would have made her a strong independent woman without making the character look like a brat.

Hugh Marlowe is an excellent actor but I didn't find him a very convincing villain, even an an outlaw banker! Then again, it's probably my own fault in that I can't look at him without thinking of him as the hero in Earth Vs. The Flying Saucers. One scene where he delivered was when he was pretending to be a lawman, talking to the newspaper reporter and he had to fight back his anger at the men who were gossiping about his treacherous personal life.

A young and lanky Jack Elam steals the show as a dangerous (and lecherous) member of Marlowe's gang. He's great in this!

Overall, this is a decent studio western with an entertaining twist filled climax.

Also, I'd advise viewers who haven't watched this to please skip the trailer as it gives away the ending of the picture!

I was a teenager when I first saw this movie at the Carmel Theater in Hollywood. Tyrone Power was a WW II hero, and was a personal favorite from the 1940 western "The Mark of Zorro."

Hugh Marlowe had a nice, sympathetic role the year before in "All About Eve." So consider this teenager's surprise when he learns that Hugh is the bad guy.

Tyrone and Susan Hayward have appeared in several film together and here make a very good team once again. The rousing opening music theme was used before in the film "Brigham Young." Both films were directed by Henry Hathaway who might have said, "Let's use that music from Brigham Young." The strange thing is that there are different music credits for each film, so someone is not getting his just rewards and someone is getting credit undeservedly.

A previous review of this movie stated that this film was so predictable. Well, in the 50's all the heroes survived in motion pictures. The fun is here you don't know how the hero will survive (without a gun) and how he will save the others.

There is real suspense here and fear for the safety of the baby. This film is an excellent effort by both cast and crew and truly deserves a viewing.

Rawhide is directed by Henry Hathaway and written by Dudley Nichols. It stars Tyrone Power, Susan Hayward, Hugh Marlowe, Jack Elam, George Tobias, Dean Jagger and Edgar Buchanan. Music is by Sol Kaplan and Lionel Newman and cinematography by Milton Krasner.

A stagecoach station employee and a stranded woman traveller and her baby niece find themselves held hostage by four escaped convicts intending to rob the next day's gold shipment.

A Western remake of 1935 crime film Show Them No Mercy, Rawhide is the embodiment of a solid Western production. Beautifully photographed in black and white by Krasner, smoothly performed by a strong cast of actors and seamlessly directed by the astute Hathaway, it builds the hostage plot slowly, tightening the screws of character development a bit at a time, and it unfolds in a blaze of glory come film's end.

Characterisations are always interesting, if a bit conventional to anyone who has watched a lot of Oaters. Power is of course our hero in waiting and Hayward is spunky and feisty, I wonder if they will get together romantically? The four convicts are your typical scuzzy types, with Marlowe dominating the screen as the intelligent leader saddled with cohorts he really doesn't care for, while Elam is wonderfully vile as a lecherous loose cannon.

The thematics of greed, sexual hostility and jeopardy for Hayward and child keep the pot boiling nicely, so suspense is a constant, and some thought has gone into the writing as regards the convict group dynamic. Sadly Kaplan's musical score is quite often cheese laden, even ridiculously jolly and not at one with the noirish thriller conventions of the story. But regardless of irritating musical interludes, this is a very good Oater and comfortably recommended to Western fans who want more than your standard shoot em' up B pictures. 7.5/10

This film, sometimes predictable, is nonetheless quite watchable. And then, of course, if you start to think about what's happening on screen and the metaphorical possibilities thereof, you may feel like you've discovered a hidden gem.

Susan Hayward aficionados (I won't exactly say fans) will never be bored, as Miss Hayward gives it her typical spitfire all from the get-go, her performance liberally punctuated with her signature eye-squints, chin-jerks and tit-thrusts.

Compared to Hayward, in fact (and this hardly seems accidental), Tyrone Power's character is seen as quite emasculated. From the beginning of the film he has "lost" his gun, and it is Hayward, not he, who takes out the last bad guy. One scene has him preparing bacon, beans and coffee for the bandits that have wrought such murder and mayhem on the stage coach depot he reluctantly manages.

Visually, the film is quite striking, with an impressive mise-en-scène that alternates between wide shots expressing the vastness and solitude of the West and extreme--and unusually-constructed--close-ups that explore characters both good and evil and as well make us a part of the growing intimacy between Hayward and Power.

Finally, fans of gunplay will thrill to the extremity of the scene where one particularly incorrigible gunman makes his last stand by taking pot-shots at Hayward's toddler ward, Callie.