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Beverly Garland is the only reason I gave this a good rating. She acts very well and is very pleasing to watch.

Other than that, typical Roger Corman production. Lots of mediocre actors, lack of continuity, lots of women displaying themselves, making out, and humorous scenes when not meant to be humorous. I love Bev's stoic reaction in the beginning. Plus, the whiny barkeep guy was so kooky and annoying. He got his just desserts. Interesting situation: boy meets girl, boy was hired to kill girl, boy falls for girl, girl falls for boy, boy and girl get into shootout.

We do have fun.

Being a big fan of Corman's horror movies I expected from his western a bit more than I got. Well, I was entertained all right. I had almost as many laughs as watching Mel Brooks' Blazing Saddles.

See the spectacle of mobile tire tracks on the prairie of the old west. You can kill time by counting them if there happens to be an otherwise boring scene going on. And the horses seem to have gears in them too, considered the fast-forward chases. See also the swinging bar room queens of the traditional wild west saloon doing a number that reminds of a certain fashionable dance from 1920's, here decades before the style was invented. Hope the saloon around them won't crumple.

In the middle of all this mayhem the main actors do a decent job. Ireland, Garland and Hayes are all truly fine. A special praise for them for doing the best they could with the material that seems mostly having been lifted from 'Johnny Guitar', but doesn't quite impress the same way. But there is really nothing wrong with a laughable western like this. Just like a really bad old horror movie, it might fail one way but succeeds to give joy anyway. That is one of the reasons Corman's work appeals to me and that is why I dare to recommend you to experience this movie if you get the chance.

One of Roger Corman's first films is this lively and involving little western that has a gender role-reversal going on as a grieving widow (Beverly Garland) becomes the marshal of a violent town in which at least one of the inhabitants is going on a murderous rampage of land-grabbing. I was at first surprised to see that this film was in colour given that the rest of Corman's B-movie sci-fi and horror films of the 1950s are in black and white, and then pleased to see that this was just as entertaining as those genre movies.

GUNSLINGER is fast-paced and fun, and even the romance scenes don't feel slow or dragged out. Garland makes for an enthusiastic heroine given decent support by John Ireland as a hired gun who has a change of heart. You know it's a Corman movie when you spy Dick Miller in a low down supporting role. GUNSLINGER is no masterpiece, that's for sure, but for a film which must have been made for a fraction of the budget of acclaimed classics like HIGH NOON, it's a nice surprise.

I saw this on an episode of the divine MST3K, and I think it would have been almost as funny without Joel & co. mocking it. This is truly an awful movie, but it's definitely worth seeing in MST3K-vision.

Two tough women, one good one bad, dominate "Gunslinger", a nice B western, early work by Roger Corman. In spite of being so patently low-budgeted and made in a rush, the movie have several things to its credit. First of all, a considerable originality for the 1950s. The woman marshal Rose (Beverly Garland) is an uncommon character in western movies, all the more her outstanding guts and toughness. The early scene, when she shoots dead the killer during her husband's funeral service, is a shocker which, in some sense, sets the gutsy standard of the film. Personally, I never saw such an unexpected scene elsewhere. Fine stuff. Rose's counterpart is the cruel Erica (Allison Hayes), always ready to murder anyone interfering with her dirty schemes. She is uncommonly bad for a female character. These two beautiful mortal enemies are related in a love triangle with the gunslinger Cane Myro (John Ireland). I like this character, entangled in a Greek-tragedy-like strait of being hired to kill the woman he loves. John Ireland, slouching along with his dark suit, cold eyes, sad fixed grin, cynical sense of humor, is perfect for the role. In my opinion he makes a first-rate job, even too good for an unpretentious B-movie. The romantic scenes with Myro and Rose have an intensity which makes a fine contrast with the merely carnal interchange between Erica and the gunslinger. A remarkable sexy aura permeates a number of scenes, mainly thanks to three sensational saloon-girls. Even the final general killing, though far-fetched, has the merit to be non-standard. The tough, dry dialogue is praise-worthy, Garland and Hayes act adequately, and there is some good camera work (rarely, to be honest). Several sub-plots give a fast pace to the narration. It is almost impossible to get bored. After all, that's the main purpose of a B-movie, isn't it?

Unfortunately, sometimes "Gunslinger" is non-standard for goofiness, as well. An early take is so mistaken that I even suspect to be a director's deliberate choice. We see the pony-express starting from a stage-post, in theory some ten days far from Oracle, the village where the action takes place. Few seconds later he rides close to a big tree, under which we see the funeral service of the murdered marshal, in Oracle! And we have many takes of rushing horses, patently in "fast-motion". What's the point of such useless stupidity? Two potentially exciting scenes, namely the fist-fight between Rose and Erica and the attempt of the three saloon-girls to lynch Rose, are marred by a very poor editing. We find several faults in the cut of the movie, as well.

Anyway, I go back to my main point. The two pretty tough girls are exciting, the romance is pleasant, the flick is entertaining and presents some interest for a study of B-movies.