Un buen día para una ejecución

It's hard to say enough good things about this script. "Good Day For a Hanging" as about a man who tries to warn a town that makes him sheriff when their sheriff is killed during a robbery that if he starts to do his job he will see it through. He was once a robber with the same gang years since, and the sheriff helped him to go straight. They do not believe him; even his daughter turns against him to side with her ex-boy friend, who swears he innocent but was identified by the man as a murderer whose deed was seen with his own eyes. The young man is ordered hanged, and the sheriff stands his grounds, and is vindicated. To this very strong storyline are added many townspeople on both sides of the argument, mostly against the sheriff, played with honesty by Fred MacMurray. The leader of his opponents is played by Edmon Ryan, the sheriff's wife played by fine actress Maggie Hayes and the boy played by Robert Vaughn. The production values are the best of MacMarray's three major westerns, with script by Daniel Ullman, John Reese and Maurice Zimm, taut direction by the great Nathan Juran and cinematography b y Henry Freulich which looks very well. Among the others in the large cast are many familiar actors of quality, including Denver Pyle, Joan Blackman, Kathryn Card, Wendell Homes, Stacey Harris, James Drury, Bing Russell, Russell Thorsen and Howard McNear. There is one good scene after another in this remarkably dramatic and entertaining script; MacMurray is all right but the part could have benefited from a performance by someone with a stronger theatrically-trained voice. The slow build of resentment against the sheriff whose stubbornness may bring the gang down on the town again sets up a grand climactic confrontation and a satisfying ending, vindicating the Sheriff's judgment. A nearly-great western.

Good Day for a Hanging is directed by Nathan Juran and adapted to screenplay by Daniel B. Ullman and Maurice Zimm from the story The Reluctant Hangman written by John H. Reese. It stars Fred MacMurray, Robert Vaughn, Joan Blackman, Margaret Hayes, James Dury and Wendell Holmes. It is filmed in Columbia Color with cinematography by Henry Freulich.

After claiming his daughter's childhood sweetheart killed the marshal of Springdale during the aftermath of a bank raid, the new marshal, Ben Cutler (MacMurray), finds himself in conflict with his family and the townsfolk who question the motives of his testimony.

Good Day for a Hanging is one of those films that you feel that with a few tweaks it could have been a bona fide great 50s Western. As it is, in spite of some viable complaints from those who have bothered to review it, it's still a hugely enjoyable broody Oater.

Film hinges on MacMurray's moody and stoic performance. Ben Cutler finds himself fighting a lone battle in getting outlaw Eddie "Kid" Campbell (Vaughn excellent) on to the gallows. Campbell's standing in the town is high, he's fondly remembered and after laying on a truly heartfelt plea of innocence during the trial, practically everyone is convinced that he is innocent, even the members of the Cutler posse who were there when Campbell gunned down the old marshal! And with those closest to Ben also firmly against him hanging Campbell, he is being pulled apart emotionally. It's a nicely etched turn from MacMurray, full of inner torment and believable bravado.

Juran constructs some very good passages in the story, the opening robbery is very tense, the court case deftly handled with its observations of how manipulation of the law can happen, and the building of the gallows outside Campbell's cell - and the subsequent morbid interest of the townsfolk - really puts an edge on proceedings. Unfortunately the final outcome to the excellent mood building is undone by an unconvincing turn of events, and it feels very rushed. It's a shame because it just needed someone to step forward and suggest changing the ending from that of the source material. You have to think that the likes of Boetticher and Mann would have put a different spin on it.

Still, and I note and agree that some of the dialogue is out of time for the era, this is way above being an average B Western. At the time Variety wrote in their notices that the colour wasn't right for the tone of the picture. To some degree I agree that shadowy black and white would have worked a treat, but in this High Def age you can really see the benefits of Freulich's photography, it's beautiful, but I viewed it from UK TCM HD Channel, which invariably means I'm seeing it different to those in 1959!

I fully endorse this to Western fans who haven't seen it, and especially to MacMurray and Vaughn fans. It has problems, and yes it's kinda like a poor man's version of High Noon - Ruth (Ben's love interest played by Hayes), even suggests that Ben throw his marshal badge in the dirt - yet it's a mature throwback well worthy of viewing investment. 7/10

Of course this is a 1950s period piece that says more about that time period than it does about the 19th Century, but we need to remember that most films, particularly Westerns, seemed to reflect the exact time period they were made. This is nothing new, and it probably will not change any time in the future.

What audiences forget is that Fred MacMurray was GREAT in serious roles. Because we saw him on TV and Disney movies, we became used to the dimwitted, milquetoast type of character and I, at least could not understand why he was so respected as an actor. But, he had a long illustrious career long before the 1960s, and that career had mostly been of him as a leading man in Westerns. In fact, MacMurray was disappointed that all he ever got cast in was serious roles, and he got tired of it.

In this movie, his acting is so "underdone", that it is flawless. I have a great deal of respect for him, and wish he had made even more serious movies later in his life.

I agree with the previous comment that the dialogue was too contemporary. My late father, Daniel B. Ullman, was the screenwriter and I recognize his personal style very clearly when MacMurray says to Ruth Granger, "Don't talk like an idiot." Much too modern a turn-of-phrase and exactly what my dad would say to any of us during a heated argument! It's nice for me, personally, to hear such lines. They keep Dad alive for me. He wrote nine of "The Fugitive" TV series and borrowed heavily from our family life for names and places. In this picture, MacMurray's character is Ben Cutler. That was my maternal grandfather's name. Other movies of Dad's included "Badlands of Montana", whose main character is Steve Brewster. My brother's name is Steve. In "Kansas-Pacific," there is a Mr. Bruce featured.

The parallels to "High Noon" are quite flattering. I confess I didn't pick up on that.

I agree that the characters and sentiments are broadly drawn, but that is a comforting respite from much of today's fare. Give me stories about people over machines anytime.

So nice to know that folks are still watching Dad's movies 25yrs after his passing.

Most of us remember Fred MacMurray from the sitcom "My Three Sons." However, Macmurray gave some great performances in some great movies,"Double Indemnity," "Pushover" and this terrific little sleeper. MacMurray plays Ben Cutler, first a reluctant posse member, then a reluctant Marshall, finally the unflinching witness against and executioner of his daughter's childhood sweetheart. What is brilliant about this movie is the gradually changing loyalties of his loved ones and townspeople. First they are out for the blood of the kid (Robert Vaughn's brilliant as a dangerous, manipulative coward). Then, as Vaughn wins greater and greater sympathy, MacMurray is treated as the heavy. As Cutler, MacMurray finds real courage, standing virtually alone by the film's climax. This is a powerful movie and a real treat. See it.