Horizontes de Sangre

I saw the movie the first time back in the late 1940's after reading the book "Twin Sombreros". When I taped it recently from the Westerns Channel, I noted that R. Scott's name was Brazos Keene in the book, but Brazos Kane in the movie. Also I still had a hard time telling the girls apart. The story drifted away a little from the book, the names were still familiar, Kiscaden, Inskip, Johnny, Beth and Jane. One of the greatest lines in Westerns was uttered by Kiscaden when he told Brazos that his badge represented the law..."if the man wearing it goes down, it just gets up and jumps on the pocket of another man, and keeps right on coming" (that's as close as I can remember the statement). You can still watch the movie, it was very interesting.

Another good Randolph Scott western, though the plot is a little complicated, and the two sisters looked alike so it was confusing who was speaking to Scott. One of them loves Cabot who is involved in the murder of Scott's friend. Scott, who had decided to hang up his guns, is forced to do some leather slapping again. There's a good chase, an energetic fistfight and a few gunfights, but there's an emphasis on dialogue and characterisation.

Randolph Scott again tries to hang up his guns and walk away from violence, but those pesky bad guys just leave him with no choice in this good-looking Cinecolor potboiler that anticipates 'The Gunfighter'.

As usual it benefits from a literate script (by Alan LeMay), good production values and a good cast, including handsome Arizona locations and a pair of handsome female leads playing sisters, in the form of blue-eyed Barbara Britton and titian-haired Dorothy Hart (best remembered as Jane to Johnny Weissmuller's Tarzan five years later in 'Tarzan's Savage Fury') in stetson and jeans.

Good Scott oater. Looks like Columbia popped for an A-budget (for them), what with Technicolor, Sedona locations, and a large, accomplished cast. Seems Brazos (Scott) realizes the tragedy of being the fastest gun around, so he ditches the belt and heads for an old friend's place and what he hopes is a new peaceful life. Of course things don't turn out that way, otherwise we wouldn't have a real western.

The plot's pretty complex, but the many characters are mainly well etched, especially Grapewin's feisty old rancher Inskip. But what really had me going are the, not one, but two leading ladies (Britton & Hart). It's not that they're just attractive, which is expected, it's that they look exactly alike. The only way I could distinguish them was the hairdo's, but those kept changing, so I kept struggling. They're more like identical twins than just movie sisters. Okay, no big deal, but I've never seen such a resemblance in decades of viewing.

Anyway, Scott's near his physical peak and as convincing as ever. While Harry Joe Brown, who would later produce the legendary Ranown western series with Scott, produced this early scenic effort. In fact, some of those red rock spires soaring into the clouds are real visual grabbers. I guess my only reservations are with Cabot's baddie Bard who's too understated to compete effectively with Scott's Brazos, and a rather flat showdown. Nonetheless, it's post-war Columbia Pictures and the great Scott getting off to a fast Western start.

GUNFIGHTERS is the unoriginal title for Zane Grey's "Twin Sombreros", which, considering the story is about two sisters who are almost twin-like in appearance, would have been a more apt title for this film.

The story is routine as depicted here, with bad guy BRUCE CABOT as the man responsible for a few killings over range rights on property owned by GRIFF BARNETT and his daughters BARBARA BRITTON and DOROTHY HART.

RANDOLPH SCOTT is the man who rides into town at the start without his gunbelt, but by the end of the story he dons it for the final gun duel before tossing it off again and heading west for the happy ending. This is after he's fought a couple of the town bullies, including FORREST TUCKER, and won.

What surprised me was how good the warm tones of Cinecolor looked, while not quite up to the standard of three-strip Technicolor. Looks as though Columbia was aiming to give the film an A-budget look.

For Randolph Scott fans, it's a treat to see him in fine shape--but the script is ordinary and the direction is uninspired. One would never guess the story is from an original penned by Zane Grey.