Auf eigene Faust

A bounty hunter, Randolph Scott, escorts a killer, James Best, to be tried for murder. The murderer was worth 5000 dollars alive or dead but he was easier to bring in dead. This is the man called Brigade, Scott , hot as the revenge that drove him , hated by the woman he saved , a white woman he was going to keep against the savage Indians who are surrounding them . Along the trail he meets two outlaws, Pernell Roberts, James Coburn, and a gorgeous widow, Karen Steele , and all of them are pursued by the nasty Lee Van Cleef who is planning an ambush.

This is a nice western , a well-done example of a B movie with fine interpretations, acceptable production design, glimmering photography and enjoyable outdoors. Interesting and engaging screenplay , including attractive characters and thrilling plot . Stars the great Randolph Scott that brings a new kind of adventurer and bounty hunter to the screen, he is looking for a murderer, but it is not just the reward, as he hopes the kiler wil lead him to the man who killed Scott's spouse. Support cast is frankly good as Pernell Roberts and James Coburn play two bandits who hope if they capture the killer they will get a pardon . The explosive Karen Steele plays the pretty widow. And Lee Van Cleef, pre-Sergio Leone , performs perfectly his ordinary baddie role.

It contains a colorful and shimmering cinematography in CinemaScope by Charles Lang Jr and techical consultant by Henry Jaffa. As well as an evocative and thrilling musical score. The motion picture was well produced by Ranown and professionally directed by Budd Boetticher in his usual style.He directed a lot of Western, most of them written by Burt Kennedy, being exhibited by Columbia Pictures . Along with Randolph Scott and Harry Joe Brown formed a production company ,Ranown, financing several Westerns. At the beginning Budd worked for Universal International directing Westerns as Wolf hunters, Cimarron kid, Bronco Buster, Horizons West, Seminole, The man from the Alamo, Wings of the hawk . In 1956 he directed a B production for Batjac titled 7 men from now. In 1957 made The Tall T with his production company, following Decision at sundown, Buchanan rides alone, Ride lonesome, Comanche station, Westbound. Finally, Budd wrote the script of Two mules for Sister Sara by Donal Siegel and directed in 1969 A time of dying produced by Audie Murphy. Rating : Better than average 7 out of 10. The picture will appeal to Randolph Scott fans and Western lovers

This is taut Western, filled with good phrasing and a good story, with a slight twist at the end. Ben Brigade (Randolph Scott) captures Billy John (James Best) for the bounty on his head. The twist is concerning Billy John's brother Frank (Lee Van Cleef) which I won't give away. Brigade meets up with Sam Boone (Pernell Roberts) and Whit (James Coburn) at a stage line swing station that belongs to Mr. & Mrs Lane. Mr. Lane is absent, killed by Indians, and the story basically is of Brigade taking Billy John to justice and Mrs Lane (Karen Steele) to safety, while a war party is after them and Frank and company are out to free Billy John.

It's once again a simple old school Western, this one not being quite as good as "The Tall T". Katherine Steele is just a little too much eye candy that seems a bit out of place for the time period. As is customary for many western heroines of the 50's she's got a hairdo that could only be possible in a hair salon with the equipment they had in the 50's.

James Best plays a part he was born for, that of the young smart-aleck killer, Pernell Roberts gives a standout performance, and Coburn plays Robert's thin as a rail sidekick Whit, in probably his first film role. Roberts and Whit play minor outlaws that are caught up in the events.

Lee Van Cleef is not as effective as he could have been, but in this, as in other of his pre-Leone speaking roles, he comes off as either a hot head or a two bit outlaw. His speech and his body movements are way way too fast, but that's direction, and it seems that that was the way he was typecast for most of the fifties. Zinnerman saw his look in High Noon and kept him silent and menacing. In this film he does something so despicable that there should have been way way more buildup to to the climax, but that is of course looking at the Western with Leone colored glasses. Now this despicable act that you never actually see really doesn't work since it's thrown out way too far towards the climax. This would work better if the scenario of events was shown leading up to the act via flashbacks, giving the audience some shockers. Too late to make a long story short, the film should have been emphasizing Van Cleef as much as Scott, but that's just not Boetticher's style.

To summarize, this is a great cheapie budget Western, and although the outdoor locations alone are a major part of the film, the only structures you see are the stage swing station and corrals and some abandoned ruins. More money was probably spent on stock and wranglers than art design. Again we get cowboy lore on the treatment of horses, and good Western slang. Scott is good as the man looking for revenge, and the irony involving the male characters is excellent. Scott is a good man doing a bad thing; Roberts and Coburn have done some bad things and are looking to go "good"/straight.

This spare, brief western is one in a series of similar collaborations between Budd Boetticher the director and Scott. Today's moviegoer sometimes seems to feel cheated if a film runs less than about two hours as if a film's quality should be judged by it's length rather than it's content. A little film like this demonstrates the entertainment value of a short, well-told and well-acted story with minimal production values. Scott is a bounty hunter who has captured shifty killer Best and is intent on dragging him back to the city of Santa Cruz to face his fate. Unfortunately, outlaws Roberts and Coburn want him themselves because whoever brings Best in is granted amnesty for their own past crimes. The men form an uneasy alliance necessitated by both bloodthirsty Indians and Best's brother Van Cleef who is en route to rescue him from his captors. Also along for the ride is Steele, a buxom blonde who's been abandoned by her stationmaster husband. These five people cross desert terrain, continuously at odds with each other and with the people tracking them. If it all sounds simple, it gets a boost from a twist in the storyline that adds much dimension to the plot and to one of the characters in particular. Filmed entirely out of doors, there is excellent use of California scenery (sure to be lost somewhat in a cropped version.) Scott gives his typical solid, dependable performance. Roberts is awarded some interesting and, at times, ripe dialogue. He shares an intriguing on screen relationship with future-star Coburn who has a nice early supporting role here. Best (who somehow doesn't even rate billing in the title credits!) gives a quirky, thoughtful, colorful performance as the marked man. Van Cleef (not particularly believable as his brother!) shows the demeanor and presence that would make him a bigger star later. In fact, the cast is almost uniformly made up of high quality actors. Steele (sporting an impossibly small waistline and B-52 bosoms) isn't exactly what one would expect to find at a wagon station, but she does a good job in the film. There's a nice balance of character work, action and story-telling to make for a pleasing 73 minutes of western entertainment. There's little or no fat to trim from it. It does what it does and does it well.

Another in the series of short but very good westerns with RS. Scott is a one man Brigade. Take the Tall T, Comanche Station and the others in the RS genre; mix em up throw em in the air and you come up with the next in the series. I don't mind but my wife keeps complaining the movie is the same as the last RS flick. True to his code, Scott doesn't show much interest in Jayne Mansfield-like Karen Steele. A standout performance for Pernell Roberts as the bad guy. James Best known for his Jimmy Stewart imitation to entertain Burt Reynolds in Hooper,is on hand for some interesting supporting acting. I didn't see the ending coming and I hate to leave you hanging so I won't say a word.

"Ride Lonesome" fully deserves its cult-movie status. Here the chemistry between the director Budd Boetticher and Randolph Scott attains its highest level. Of course, as for any other cult movie, it would be desirable to see "Ride lonesome" several times to fully appreciate it. The story is very simple, and somewhat reminiscent of others by the distinguished western-writer Burt Kennedy, but it is dense with distinct themes and psychological nuances. The dialogue is perfect: extremely dry, sharp and laconic, but endowed with a remarkable sense of humour. We feel that the guys on the screen are more for action than for chats.

Boetticher merges the audience in the open freeness of wild nature, according to his trade-mark style of turning the landscape into a further character of his films. The photography and the use of color are magnificent. The action scenes are terse, (enough) realistic and much accurate in the movements of the actors. Particularly brilliant are the nocturnal scenes: the shadows which hide the faces are opposed to the glitter of metal objects (cups, fire-arms) and to the lights spread by Karen Steele's blond hair and white shirt. And these nocturnal scenes create a remarkable erotic atmosphere, due to the breathtaking presence of Steele as Mrs. Lane. It has been said that in Boetticher's films the Woman is never a real character, but rather a dreamed object of desire. "Ride Lonesome" is perhaps the best evidence of this theory: Karen Steele is so incredibly gorgeous that the viewer is led to see her more as a Goddess than as a woman. And thus we easily accept the instinctive respect paid to her by the male characters. Also note this subtlety: the Apaches attack the whites just because their chief wants to get Mrs. Lane. The power of Woman rules.

Any character is designed with accurate psychology, with excellent work by the whole cast. Randolph Scott, Karen Steele, Pernell Roberts, James Best are all commendable. I especially liked a very young James Coburn in the role of the naive cow-boy, living on the risky border between good and evil. Lee Van Cleef has a short role as the main villain Frank, but leaves his mark: look at his sneer and his body language when Frank realizes that he's going to face a mortal clash.

A marginal note: the Italian title of the movie sounds like "The tree of revenge". I venture to say that this title is better than the original one.

I greatly like "Ride Lonesome". You can enjoy it at two levels: either breath in the open spaces and relish the adventure, or make a deeper study of Boetticher's admirable style and technique.