Los malos

A western through and through. As the title character portrayed by Glenn Ford says, "No, I don't want to fight, but I will if it's forced on me." This movie is about being intelligent, strong, and fighting for one's beliefs. With courage, never stop striving for what you feel is right. Great action and mostly quick paced. Good to see Brian Keith in this role and Edward G. Robinson as an older western man. Glenn Ford lives up to his western image. Thoroughly enjoyable film includes strategic non-military warfare. Of course it's violent, like the title states, but not too graphic like in the computer-generated era films. It's mostly about strong personality clashes.

This is yet another western about a greedy cattle baron looking to push out small ranchers and farmers. It's certainly all been done before and since. But The Violent Men is something special.

What makes it special is Barbara Stanwyck playing the role of vixen as she often did in her later films. She's married to the crippled Edward G. Robinson who's the cattle baron here, but Robinson is crippled and there is some hint that his injuries may have left him impotent. No matter to Barbara, whose needs are being met by her brother-in-law Brian Keith. That doesn't sit well with either Dianne Foster who is Robinson and Stanwyck's daughter, nor with Lita Milan who is Keith's Mexican girl friend.

The infidelity subplot almost takes over the film, but Glenn Ford as the stalwart small rancher who is a Civil War veteran come west for his health manages to hold his own here. He's every inch the quiet western hero who people make the mistake of pushing once too often. I almost expect those famous words from Wild Bill Elliott to come out of Ford's mouth, "I'm a peaceable man." Would have been very applicable in The Vioilent Men.

The Fifties was the age of the adult western, themes were entering into horse operas that hadn't been explored before. The following year Glenn Ford would do another western, Jubal, one of his best which also explores infidelity as a plot component.

There's enough traditional western stuff in The Violent Men and plenty for those who are addicted to soap operas as well.

John Parrish is an ex Union officer who plans to sell his ranch and land to the Wilkison's over at Anchor. The trouble is that the price being offered is way too low and when they start to bully Parrish and his workers, he has a change of heart, particularly when things take a brutal turn for the worse.

Originally after watching this one I had a sense of frustration, chiefly because of the cast that was involved. When you got Edward G. Robinson, Glenn Ford and Barbara Stanwyck in the same movie, you hope that they get a story and script from which to excel. Sadly they don't get chance to produce a Western classic worthy of multiple revisits, or is that my over expectation is doing it a disservice? Well I slept on it and decided to ponder further about the picture. I think yes it's fair to say that the actors in question deserved a better story from which to work from, it is, when all is said and done, a plot that has been milked for all it's worth, and then some. But The Violent Men is still a very rewarding film regardless of the missed opportunities evident with the production.

Glenn Ford as Parrish is as cool as an Eskimo's nose throughout, and it's always great to see Babs Stanwyck playing a bitch because she's good at it. While Eddie G, when one gets used to him being in a Western, is fine in what is an under written part. Robinson, who stepped in at the last minute when first choice as Lee Wilkison, Broderick Crawford got injured, is the one who is short changed the most by the makers, even supporting characters such as the devilish Wade Matlock {a grinning delight from the reliable Richard Jaeckel} and Judith Wilkison {a radiant Dianne Foster} get something to leave an impression with. But for what it is, Robinson's crutch toting "bad" guy is at the least memorable for all the right reasons.

Not shy on action and gun play, it's with the twists and almost Shakespearean tragedies that Rudolph Maté's film rises above the mundane, with all of it gorgeously framed by Burnett Guffey's stunning cinematography. Lone Pine in Alabama has been used on many a Western picture {see Seven Men From Now for another glorious use of it}, but here Guffey really excels and manages to dazzle the eyes at every turn. The Violent Men isn't a great Western picture, and perhaps a better director than Maté could have really given Donald Hamilton's {The Big Country} novel an adaptation to be proud of. But for every niggle and irk I personally had with it, I found two more reasons to actually really like it, so that it be, it's recommended, for sure. 7/10

Highly watchable Western from a Donald Hamilton novel about confrontation between cattlemen and homesteaders . The picture gets action Western , shootouts , wonderful outdoors and is quite entertaining . It deals with a Union ex-soldier named John Parrish (Glenn Ford) schemes to sell up to Anchor Ranch and move east with his fiancée , but the low price offered by a wealthy rancher makes him think again . Glenn Ford/Parrish is the brave ex-officer , he is fighting to stifle the conflicts between homesteaders and cattleman who hire gunfighters (Richard Jaeckel). When one of his hands is killed he decides to stay and fight, utilising his war experience. The unscrupulous owner named Lew Wilkison (Edward G Robinson in conflict with good folk of the valley and plans rules over the lands . Not all is well at Anchor with the owner's wife carrying on with his brother (Brian Keith) who anyway has a Mexican moll (Lita Milan) in town . Meanwhile Parrish develops a loving triangle between his fiancée (May Wynn) and a good girl (Dianne Foster)

Enjoyable Western packs drama , thrills , go riding and some moving action sequences . It's a medium budget film with good actors , technicians, production values and pleasing results . Good performances from Glenn Ford as obstinate war veteran , Edward Robinson as a crippled owner and Barbara Stanwick as his wife . 'Edward G. Robinson' may seem oddly cast in a western, but he was a rush replacement for 'Broderick Crawford' who early on in shooting fell off his horse and was injured ; Robinson would later appear in the western Cheyenne Autumn , this time replacing the ill Spencer Tracy who had to bail out. Large plethora of secondaries , many of them uncredited as Jack Kelly , Willis Bouchey , Peter Hansen and Richard Farnsworth . Colorful and glimmer cinematography by two great directors of photography W. Howard Greene and Burnett Guffey , filmed on spectacular Alabama Hills, Lone Pine, California, and Tucson, Arizona . Sensitive as well as evocative musical score by classical Max Steiner.

The motion picture was directed in sure visual eye by Rudolph Mate . Polish-born Mate was an assistant cameraman for Alexander Korda and later worked throughout Europe with noted cameraman Karl Freund , director Carl Theodor Dreyer and Erich Pommer . Dreyer was so impressed with his work that they hired him as cinematographer on The Passion of Joan of Arc . Mate was soon working on some of Europe's most prestigious films, cementing his reputation as one of the continent's premier cinematographers. Hollywood came calling in 1935, and Mate shot films there for the next 12 years before turning to directing in 1947. Unfortunately, while many of his directorial efforts were visually impressive ,especially his sci-fi When the worlds collide (1951) , his labour as cameraman was excellent . He realized a variety films of all kind of genres as Adventures : The Black Shield of Falworth , Seven Seas to Calais , Western : Three Violent People , The far horizons , Noir films : Union Station , Second chance .He also directed Epic films as The Barbarians and The 300 Espartans . The films themselves were for the most part undistinguished, with his best work probably being the film-noir classic DOA (1950). ¨Violent men¨ rating , : Better than average , 7. Well worth watching .

Stanwyck at her villainous best, Robinson her equal - as ruthless land barons in this fairly ordinary western.

Some good action scenes, strong use of location, colour and Cinemascope. But why the obvious use of stock footage in the stampede scene?

Ford is dependable as always and Foster is strong as Robinson's daughter, but it is the baddies' film. And it's not just Stanwyck and Robinson - Brian Keith makes a surprisingly dashing villain as Stanwyck's lover, and Richard Jaeckel is unforgettable as a cold-hearted killer.

See it for the camp value.