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While the western genre is not my favourite one of all film genres (not sure which one is my favourite due to trying to appreciate them all the same), there is a lot of appreciation for it by me. There are a lot of very good to great films, with the best work of John Ford being notable examples.

'Comanche Station' is the final collaboration of the seven films director Budd Boetticher and lead actor Randolph Scott did together in the late 50s. By all means 'Comanche Station' is not their best pairing (perhaps towards the lesser end, which is not a knock as this merely means it's only because the best of them are so great), but one can totally see the appeal of their collaborations and both Boetticher and Scott are well served, the film being a good representation of both. It is a very good note to go out on and of their films it is perhaps the most overlooked. Which is a shame because it's a very good film with many excellent elements.

By all means not perfect. Nancy Gates is rather bland in a role that is rather underwritten. The film loses momentum on occasions.

However, Scott is as stoic and charismatic as ever with an appealingly craggy edge, being both likeable and tough. Every bit as good is a truly menacing Claude Akins, relishing his quite meaty villainous character. The two work very effectively together and their final confrontation is one of 'Comanche Station's' high points. Boetticher's direction is efficient and lean.

A big shout has to go to the production values. While there is grandeur and atmosphere to the settings it's the photography that's the star, especially in the unforgettable wordless opening sequence, one of my favourite openings of Boetticher's/Scott's films together. The music is rousing yet never intrusive and the more eventful parts blister.

There is thankfully no fat or ramble to the thought-probing, tight and sharply focused script and the storytelling is brutally bleak and movingly elegiac, mostly nicely paced too. 'Comanche Station' may not have the same depth of characterisation as other Boetticher/Scott outings or character complexity, but the two lead characters are interesting and the character interaction is a major plus point numerous times. Notably with Scott and Akins in their final confrontation, which positively blisters.

On the whole, very good. 8/10 Bethany Cox

Comanche Station is produced and directed by Budd Boetticher and stars Randolph Scott, Claude Akins, Nancy Gates, Skip Homeier & Richard Rust. It's written by Burt Kennedy with music and cinematography from Mischa Bakaleinikoff & Charles Lawton Jr. respectively.

Jefferson Cody has for many years been looking for his wife who was kidnapped by Indians. Taking time out from his futile search, he trades with the Comanches to get a woman, Nancy Gates, released. During the journey back to reunite Nancy with her husband, they run into an outlaw and his two protégés. Stating that the Comanches are on their trail and speaking about a reward being offered for Nancy, relations start to disintegrate by the hour.

This was to be the last of seven collaborations between director Budd Boetticher and Western legend Randolph Scott, and it's a most fitting sign off from the duo. Between them they managed to make Westerns with an almost haunting cloud hanging over them, themes of loneliness, complex characters and scenarios segue throughout their output. Here in this fine picture we find Scott's Cody in a complete state of loneliness, but outside of the pain the character clearly carries with him, Cody is a classic Western hero, courage and integrity are fortitude's by which he lives his life.

As this tale unfolds it's evident that Boetticher isn't prepared to offer up conventional Western standards, this, like many of Boetticher's other Westerns, is not a standard Oater, a good versus evil fable, it's a cunningly intelligent picture that's both sad in texture, and also in heart. The film is boosted by Charles Lawton Jr's camera work as he captures some stunning outdoor scenery, the rugged rocks and dusky land creates some striking compositions around the troubled characters.

See this if you are one of those people who thinks Westerns were merely an excuse for Cowboys and Indians high jinx. Boetticher and Scott, leading lights in the sub genre that featured the Ranown Westerns. 8/10

A magazine article recently cited this movie as an underrated western. I certainly agree. Randolph Scott made his best westerns in the latter part of his career, and this is one of those. The movie examines the old west moral code of right v. wrong and raps up with a surprising twist ending that gives cynicism a kick in the rear end. Not a big splashy western, but a solid little one.

This is the final film that was directed by Budd Boetticher and starring Randolph Scott. Like their previous collaborations, they both work together to produce Westerns that manage to rise above the mediocre norm. In this film, a fairly typical plot idea is executed very well--with a grace and style that make the film well worth seeing.

Randolph Scott, as usual, plays a nice but tough guy. He's brave enough to come into a Comanche stronghold in order to negotiate for the release of a White woman kidnapped by the tribe. However, trouble is in store when three drifters come upon Scott and the woman. It seems that the leader of this group (Claude Akins) is a real rogue and plans with his men to kill Scott and the woman. It seems that the woman's husband has offered a reward for her--and it can be collected dead or alive! So what did I like about the film? First, as usual, Randolph Scott is amazing. He plays the perfect cowboy hero--tough, slow to speak and anger but also a decent man through and through. Plus, he's much more believable than the bigger than life characters John Wayne usually played. I loved Wayne's films, but he was always too tough and too in command. Scott is much more like a very capable 'everyman' character. Second, as usual, Boetticher deliberately underplays the action--producing a muted but also quite believable film. Third, the film had a really nice ending--quite the twist.

You can't do a lot better than a Scott/Boetticher western. While this isn't their best, it certainly is quite good.

Howard Hawks was once asked about his recipe for making a great film. His reply: "Three good scenes, no bad scenes". I would humbly add two other rules: A great film is one where no additional scene is needed, and no existing scene could have been cut. Few competent directors violate the first rule. The mark of a great director is the ability to follow the second. Many inferior directors are too shallow or too vain to understand this - they constantly strive to include superfluous or redundant scenes - Just To Make Sure You Got The Point - when it is wiser to let the audience decide what is important. John Ford was the master at this. Hawks, Wilder, Eastwood, also come to mind. With Commanche Station, Budd Boetticher showed that he knew how to distill a great story (with many elements of a Greek tragedy) to its most basic human elements - Obsession, Greed, Loyalty, Irony, and above all, Honor.

Not only did Boetticher direct a great film, Burt Kennedy (later to become a fair director himself) constructed a great script.

Some good scenes: A conversation between a woman who was taken captive by Commanches (and held for a time) and the stranger who has just paid her ransom... Nancy Lowe: If-if you had a woman taken by the Comanche and-and you got her back... how would you feel knowing? Jefferson Cody: If I loved her, it wouldn't matter. Nancy Lowe: Wouldn't it? Jefferson Cody: No ma'am, it wouldn't matter at all.

Or two friends, hired guns both, contemplating the need to commit a horrible crime for money: Frank: You want to go to work, do you? Dobie: Work? Frank: Making an honest living? Dobie: Oh, no, I don't think I could do that. I could cowboy some. Frank: Well, what will that get you? You work yourself to death for somebody and likely they will have to take up a collection to bury you.

Or a conversation between an honorable man and a young man trying to decide whether he will try to become one: Dobie: A saddle and a shirt, that's all Frank had. It sure ain't much. Jefferson Cody: Sure ain't. Dobie: It wasn't his fault, though. Jefferson Cody: No? Dobie: No, he never knew anything but the wild side. Jefferson Cody: A man can cross over anytime he has the mind.

As for the performances, they are uniformly good. Nancy Gates, Skip Homier, Richard Rust, and Claude Akins hit the right tone - never going too far for a laugh or a tear.

And Randolph Scott was perfect - A word I do not use lightly. Roger Ebert once said that Marlon Brando and Paul Newman started out on the same path: Both came on the scene in the early 1950s, both studied the Method, both looked good in an undershirt. But Brando went on to see what else he could throw in to his performances while Newman went on to see what he could leave out (Newman once said that he was dissatisfied with many of his early performances because "you could see the acting"). In Commanche Station, Randolph Scott provided the inspiration for such an approach. This is what makes a performance (indeed, a film) memorable - by distilling your performance to only that which is necessary, you allow the viewer to remember what is important to them, not what they are told should be important to them.

If I were held to only half a dozen westerns to be labeled as essential, this would be one of them (The others: My Darling Clementine (1946), Shane (1953), The Searchers (1956), The Man Who Shot Liberty Valance (1962) and Unforgiven (1992)).