Der eiserne Kragen

Murph Balked at the Non-Color Decision and Loudly Voiced it and Threatened to Walk but was Talked Out of it by His Agent.

This is one of the More Glum of Audie Murphy Westerns.

He was Aging and it Shows His 1963 Face and Frame Starting to Sprawl, just a Little.

But the War-Hero, Now a Veteran Screen Presence, still Manages to Impose and Intimidate Bad-Guys, and Lure Beautiful Women.

With His Unwavering Moral Compass and Sweet Looks.

Here, He Outwits a Snarling Psycho, Harold J. Stone, and His Pack of Dogs.

Punches His way out of Outnumbered Fisticuffs, and Takes to the Iron to Finish Off the Outlaws.

He is Totally Loyal to Charles Drake, a real Snake, as He Sides with His "Good Friend" until the End.

Kathleen Crowley's Beautiful Face is Caked with Make-Up and Mascara, False Eye-Lashes, and an Early Sixties Hair-Do. What were They Thinking?

The Movie has a Rich Supporting Cast.

The Film Features some Off-Beat Inclusions, like the "Iron May-Pole", and some Amped Violence that was Creeping its Way into Movies in the New Decade.

Overall, it is Underrated and Another Audie Murphy Western that is Put-Down and Ignored by Critics. But it's a Good One.

Ask those that Count, the Legions of Murph's Fans that are still Around Today.

Enjoyed it for the most part but a few characters were aggravating (one due to the script, other due to their acting).

Drake's character...phew. That fella's the one "friend" some of us have, (or if lucky) HAD in our lives that's a guarantee trouble magnet. Of course, they somehow make sure you get involved... and always expect you to get them out of the trouble THEY always cause.

His character was such a PITA. Every opportunity he had to do the right thing, he chose poorly...until his last scene. Even then, it seemed he did it only to save the (hopeless) relationship with his girl.

Crowley's character... well it's the same one she's played in everything I've seen her in - besides one exception early in her career when she played a tomboy in a Lone Ranger episode.

PS - she's played the same character so much, she reminds me of being another actress - Patricia Barry.

Who too have played the same character in everything I've seen - except for 2 roles - a B/C level crime drama (light noir?) set around Staten Island early in her career (she and her dialogue delivery seemed so natural and at ease) and an outstanding Gunsmoke episode - "The Cabin", where she did such a great job, it's a shame to never seen her give another performance even close to that quality...

Wonder if during the 50's and 60's, producers would say "I need an actress that'll "overact". If I can't get Crowley, call Barry!"

Back to the movie - Enjoyed it overall.

Many familiar actors of the TV western genre from that era.

2 did stand out for me

Charles Horvath - think his dialogue with Stone near the end was the most I've seen him deliver, let alone the deepest. Felt sympathy for him wanting to just let Murphy go and get away because he knew what was coming but resigned himself to it nonetheless.

Carol Thurston - though her screen time was short, she looked just as she did playing the hopelessly in love gypsy girlfriend of the wrongly convicted outlaw in the Lone Ranger.

Can't believe she was dead within 6 years of this film, while still in her 40's.

Felt bad for the Murphy character who had to make the right choices not only for himself but for everyone else. He looked so beaten and sick of it all by the end.

BTW, not sure if the movie would've been any better shown in color. Think the B&W helped the dark, hopeless mood set for the hero.

Also - sure would've wanted to see the sheriff's face when he realized Murphy risked his life to bring back the bond money to the town who treated him so poorly.

Partners Audie Murphy and Charles Drake wind up in a jailbreak with Harold Stone and his gang. When they find out that Drake has $12,000 hidden with his girl, Kathleen Crowley, they send Murphy to fetch it. But she wants the money, too.

I have some issues with how the situation is set up, but once it starts moving, it's pretty good: people doing what they're doing, and story being the conflict that occurs when their paths intersect and no one will walk away. It's why director R. G. Springsteen was still directing this western, the last one released under the Universal-International banner: a good eye, story sense, and ability to get good performances out of actors, even when the lines are overblown. Producer Gordon Kay may have ordered this shot in black & white to save some money, but cameraman Ellis Carter shoots the Alabama Hills as dry and dusty.

That was not the first time that Audie Murphy and Charles Drake co starred: remember NO NAME ON THE BULLET and TO HELL AND BACK. And I am sure there were other features starring both. This one is a good early sixties western, made by a rough specialist, showing a good character portraits, rather moving, and bringing good scenes, shots, camera angles. This is not enough to make it exceptional but it is for me one of the best from RG Springsteen. Maybe after all RG Springsteen was a talented director who was just not ambitious enough to deliver many gems, or lucky enough to have good producers to deal with. So please, don't miss this gritty western, not the worst from Audie Murphy.

Audie Murphy was reportedly furious when he learned that "Showdown" would be in black and white for budget reasons. But the b&w seems appropriate for this western because Murphy's character is the perfect film noir hero. He usually played a gunfighter with a troubled past, a lawman, or a combination of the two but here he is Chris Foster, an ordinary cow puncher who just wants to collect his pay and celebrate with his pal Bert Pickett (Charles Drake). Because of Bert's drunken misbehavior, he and Chris have to go to "jail" which in the little New Mexico town means a post in the middle of the street with chains bolted to it and an iron collar for the prisoners. It is a very visually arresting (if you will pardon the expression) image. Also chained to the post is the notorious outlaw Lavalle (Harold J. Stone) and his gang which includes Foray (L.Q. Jones) and Caslon (Skip Homeier). When Lavalle and friends escape, Chris and Bert have to go with him putting them on the run from the law. From there, Chris tries to keep himself and his friend alive - not to mention clear their names - as they attempt to buy their way out with some bonds stolen from an express office. There is even, if not a femme fatale, a cynical dame who could help the two men out of their trouble but is unable to trust what Chris tells her. Now, if that's not a noir plot, I don't know what is. Noir, noir on the range. Not one of Audie's best, neither one of his worst (so far I haven't found a "worst"). But as always, Audie Murphy is a charismatic lead actor. The cinematographer is Ellis W. Carter. Location shooting was done at Lone Pine, California which is a good match for the film's setting in New Mexico, especially in the desert views.