La mujer del látigo

Despite claiming self-defence, Steve finds himself in jail with nothing ahead of him but a short drop to the end of a rope. When the judge that sentenced him, offers him a way out, Steve suspects he has been set up but has no room to turn the offer down. So it happens then that Steve is married to Cheyenne – a fiery young woman, whose father's will states that she will inherit nothing unless she marries within so many days. With the papers signed, Steve is let out of jail with no knowledge of who his new wife is and quickly finds that he was not pardoned – only freed, so a posse of men are after him immediately. Steve gets offered a chance to get after his wife and claim his rights as her husband by sinister businessman Parnell and thus he sets of after her wagon train.

Despite the trimmings, western setting and plotting, the basic story here is very much a simple case of "man and woman dislike each other while the audience wonder if they will overcome differences and perhaps even fall in love". The answer to this question is unlikely to have audiences on the edge of their seats but the film does just about manage to entertain even if it never really does anything that special or interesting. The story treads the usual path but has some humour, action and intrigue to make for a distracting affair that more of less does the job for an undemanding afternoon in on a wet weekend. Of course a lot depends on the chemistry between the stars in this sort of plot and unfortunately the delivery isn't good enough on that front.

It isn't that the cast are bad, because they are actually OK but this film could have been lifted greatly by some really sparkling chemistry and interaction between the two leads. Madison is fairly solid in the lead role and does do well with a slight swagger and wry grin; meanwhile Fleming is quite interesting but is never as sexual or as fiery as she needed to have been. The scenes the two share don't work that well either – the audience had to care for both characters and see genuine affection below the surface even in the most argumentative encounters and they can't manage to do that and just come off as, well, two b-movie stars playing opposite each other rather than anything convincing. Adams plays the usual b-movie villain with some relish but didn't make much of an impression on me I'm afraid.

The end result of all these average ingredients is a b-movie that never really rises above par for the course at any point but just about has enough comedy and energy to provide distraction if you are in an undemanding b-movie mood.

To be honest I had heard this was pretty bad before I decided to watch it, but I'm never one to let others influence my viewings, in fact I'm more likely to watch something out of defiance! Bullwhip had one thing going for me before the viewing anyway, the fact that Rhonda Fleming and those gorgeous eyes was in it. The picture isn't very good, and it is in fact very morally dubious, all the characters are corrupt and shifty in one way shape or form, all motivated by greed or egocentric victories, which is all well and good if the surrounding film can at least do justice to a bunch of despicable people to create a taut climax. Sadly it doesn't, and as the finale fills your eyes with sugar you can't help shouting out that you have been cheated into watching a pretty bad film. Nobody in the cast come out with any credit, with lead man Guy Madison particularly wooden in the extreme.

Not even the lovely Rhonda can make me recommend this to anyone. 3/10

In which I woud have prefectly imagined Barbara Stanwyck. But Rhonda Fleming is OK in this role and for which you can unfortunately foresee the ending. This is a pretty good little western, and do not confound with Chuck Marquis Warren's BLACKWHIP nor Harmon Jones' - the same director as this one - SILVER WHIP, starring Dale Robertson and made for 20th Century Fox. Nothing fantastic, exceptional. Harmon Jones is a director whose films would deserve to be discovered again by old gems diggers. For me women are not necessarily made to be monitored, dominated by males, and in his kind of schemes - strong females - in most cases they finally.... Know what I mean? I love strong male stories and I am also a feminist in the same time.

Here's an example of Plot #37 -- the couple forced to wed under unusual circumstances who seem to detest each other at first but who slowly, inevitably fall in love. Since the plot holds no surprises, the success of any film using Plot #37 largely depends on its two leads. Do they have the right chemistry? And does the script give them good dialog to toss back and forth?

Alas, Rhonda Fleming and Guy Madison lack the necessary spark, and both of them seem a bit over-the-hill for this kind of romance. Their lines are without style and wit and the course of their relationship manages to proceed both predictably and unconvincingly at the same time.

An air of sexism and racism pervades the movie and its depiction of the Old West, but in ways that are more amusing than offensive. Seeing Rhonda Fleming in her Indian maiden outfit, complete with feather, has a campy charm.

Not surprisingly, Guy Madison gets to take his shirt off in order to display the chest which once adorned the inside door of a thousand high-school lockers. Though slightly faded at age 35 or so, this chest is still easy on the eyes and it's so unshaved as to be downright furry.

There's not much to commend this Western apart from Rhonda Fleming looking good in an Indian princess outfit straight out of a musical. The plot is full of holes, such as Parnell's men knowing exactly where to find Steve and his sidekick and Pine Camp switching his loyalty from Cheyenne to Steve after being thrashed by him.

Pine Camp is an unconvincing Indian, just as Fleming makes an unconvincing half-breed.

When Cheyenne's wagons meet the Indians in an exchange of hand gestures I couldn't help feeling that Cheyenne should have been looking at them to the right, rather than to the left. I played back this sequence several times and the "wrong way round" effect persisted.

James Griffith was a bit of a disappointment - he spent all the time looking enigmatically po-faced, though at least he kept us wondering about which contract he was going to fulfil.

The bullwhip of the title wasn't much in evidence - just when Rhonda was flicking it in a fit of petulance and when she used it ineffectually on Steve.

The film could have been beefed up a bit by more tension between Steve and Cheyenne, especially if they had been played by not-so-nice actors; imagine Jack Palance and Barbara Stanwyck in the lead roles.