Day of the Badman

"Day of the Bad Man" was one of a series of westerns made by Fred MacMurray in the 50s just prior to his embarking upon a series of Disney films and his long running TV series "My Three Sons". The comparisons to "High Noon" (1952) will be inevitable.

Convicted killer Rudy Hayes (Christopher Dark) languishes in jail awaiting sentencing for murder. Into town ride his two sweaty and unshaven brothers Charlie (Robert Middleton) and Howie (Skip Homier). They hook up with Rudy's girl friend Cora (Marie Windsor)and Hayes cousins Jake (Lee Van Cleef) and Monte (Chris Alcaide). Opposing them are square jawed righteous Judge Jim Scott (MacMurray) and the pompous Sheriff Wiley (John Ericson).

A sub-plot involves a love triangle consisting of Scott, Wiley and the lovely Myra Owens (Joan Weldon).

The Hayes try to intimidate the towns folk into pressuring the Judge to impose a lighter sentence of banishment rather than hanging on Rudy. Of course MacMurray will not be intimidated and does the right thing according to law. This ultimately leads to the inevitable showdown with MacMurray forced to face the baddies alone. (Sound familiar?).

MacMurray is stern faced and serious as the Judge. Middleton is excellent as the sneering chief villain, a part he perfected. Homier does his hot-headed kid routine yet again. Van Cleef has little to do except sneer. Weldon plays the virginal good girl in typical 50s one dimensional style. Windsor almost steals the film as bad girl Cora.

Rounding out the cast are Universal's usual cast of familiar faces. Edgar Buchanan plays Sam, MacMurray's friend and ally, Don Haggerty, the Deputy Sheriff, and Robert Foulk, Ann Doran, Eduard Franz, Eddy Waller, I. Stanford Jolley, Kenneth MacDonald, Hank Patterson and Tom London as various towns folk. And watch for a very young Paul Peterson as one of the kids on the street.

An average western saved by its superior cast.

First, I am so lucky to have caught this film in a letterboxed - wide screen - edition, even dubbed in french. Second, I have nothing to add to the other comments - why always repeat the same things the other users did so good ? - except just one little detail. The sequence where the bad guys lead by Robert Middleton enter the grocery store to terrorize the owner, and just after they have got from him what they want to, so just after they have succeeded in their nasty job, Robert Middleton takes a candy placed on the shop counter and - incredible - takes two coins from his pocket to pay the candies. After he nearly killed the poor shopkeeper, he pays him the candy. I found that absolutely fantastic. I don't know how to say it properly. That's the kind of things that are so rare to see. And I think that's the real expression of power. You may really hurt someone, kill him, destroy every thing in or around him, but you can STILL stay somewhere noble, generous, even if you are besides a real S. O. B. An authentic bastard. Fred McMurray has here a character not so far from the one he had in AT GUNPOINT, from director Alfred Werker; some kind of HIGH NOON scheme.

I love seeing, catching such tiny details.

The parallels between Day Of The Badman and High Noon are way too obvious to be ignored. However one big important distinct difference is there. Gary Cooper was the former marshal of Hadleyburg and had no responsibilities. Coop comes back to answer a personal challenge from the four outlaws on their way to deal with him.

Fred MacMurray is a judge and a guilty verdict has been rendered on Christopher Dark and the usual punishment is hanging. But a whole mess of his swaggering relatives led by Robert Middleton have come to town and so intimidate the citizenry. Individually and collectively thy appeal to MacMurray for a lesser sentence.

Go throughout the cast and you'll see equivalent roles for the various characters in High Noon. One additional role is that of Marie Windsor who is her usual vicious vixen and girlfriend of Dark.

Even the widow of the man Dark killed, Peggy Converse is intimidated enough to change her mind and plead for a lesser sentence. John Ericson stands out as the sheriff ho hasn't got the character for the job.

In the late 50s Fred MacMurray made a series of westerns and he does well as the upright judge. Remember he's not a gunman like Cooper and in a sense that makes him braver than Coop. Day Of The Badman is clearly the best of MacMurray's late 50s westerns.

In the end he even has one more friend than Coop did.

At 11 o'clock Judge Jim Scott has to hand down a sentence on Rudy Hayes, a man being held in the town jail on the charge of murder-- having been found guilty by a jury of his peers.

It looks to be a tough job for Judge Scott, played by Fred MacMurray with his pants tucked almost under his armpits. The job gets made tougher when four members of the Hayes family ride into town and begin threatening everyone in sight.

As if that isn't enough for Judge Scott to contend with, his best girl Myra, whom he has been dating for six years, is involved in an affair behind his back with the young sheriff of the town.

There are fistfights aplenty along with plenty of gunfire and quite a few character revelations as the story proceeds.

I thought it was a better than the average western. Although it does end somewhat abruptly, there are no major loose ends left hanging.

7 stars

Directed by Harry Keller. Starring Fred MacMurray, Robert Middleton, John Ericson, Joan Weldon, Skip Homeier, Marie Windsor, Edgar Buchanan, Eduard Franz, Peggy Converse, Lee Van Cleef, Robert Foulk.

The unscrupulous kin of a convicted murderer show up to pressure the impassive judge (MacMurray) for leniency in sentencing; one of them is Van Cleef, so there's no doubt that they're bad news. Serviceable Western with a goofy title miffs its dramatic potential; decent performances and a few promising scenes/interactions (including a sub-plot where the judge's lady love (Weldon) is having an affair with sheriff Ericson), but it doesn't add up to much. Film lacks tension on its way to the protagonist's decision and it all but fizzles out during the underwhelming climax. Working with a low budget, journeyman director Keller fails to bring much style or suspense to the proceedings, but it's still slightly better than its all-but-forgotten status would suggest.

53/100