Quince balas

A fairly standard western tale is uplifted by the calm, towering presence of Walker. He plays a man on the run from a posse who throws them off his trail and winds up at the ranch of a woman and her son who are waiting for her husband to return. They hardly have time to exchange hellos when a Comanche war party shows up outside. It is now Walker's duty to get the woman (Mayo) and her boy to the title fort despite the fact that she blames him for her husband's failure to return and he risks arrest once he gets there. There are a couple of minor twists and turns in the story to hold interest (along with a lot of now-cliched dialogue....occasionally one can put words in the characters' mouths and like clockwork, out if comes!) Keith shows up in a stock role of friend/foe, but adds a spark of creativity to it through some effective character work. Mayo doesn't get a lot to do besides scowl and get into trouble, but does have one amusing moment when she realizes that Walker has seen her naked. Walker is his usual gorgeous self. His soothing, dulcet voice and his monumental frame add much to the film. He plays a sort of mysterious "yep/nope" character along the lines of something Gary Cooper would have done. He's believed to be a killer, but the audience knows that there's more to the story. His willingness to allow himself to be hunted and disdained is in order to protect the honor, even if undeserved, of others. Walker, a true western star, appears to have done most (if not all) of his own riding and stunts. Also, after one particularly wet scene, he is seen shirtless polishing his rifle....quite a visual treat. Anyone should have felt safe in his care. Indians in the film are nothing but savage, faceless plot devices with no discernible reason given for their behavior. This is pretty typical for the time this film was made. The film is nothing amazing, but is pleasantly brief, has some nice scenery, a Max Steiner score and has its share of action and drama to make it watchable.

Fugitive Gar Davis (Walker) flees from posse across hostile Comanche territory with woman and small boy (Mayo & Eyer), and encounters old foe, the gun-running Clett (Keith).

Fine eyeful of parched southwestern scenery—I counted only one interior (the "hospital" scene) for the entire movie. Sure, Big Clint (not Eastwood) has only one "Yes, ma'm, No, ma'm" demeanor for every scene, but that's okay, even if he didn't get to be the next Gary Cooper.

Putting old-pro Gordon Douglas in charge was a shrewd move. Note the stages the awakening Mayo goes through in discovering that, yes, Walker has stripped off her wet clothes. Note too how Douglas gets that infernal glint in Mayo's eyes when she first suspects Clint of murdering her husband—it's almost scary. I also like the way the Indians are credited with some military sense when overturning the wagons to make shooters' barricades. Most important, Douglas knows how to integrate the picturesque terrain into the storyline—catch that great framing of the Walker-Keith shoot-out.

Fortunately, Warners got Burt Kennedy to do the script— and on the eve of his outstanding work with the Boetticher-Scott ,(Ranown), cycle of Westerns. I suspect Bryan Keith's charming villain was Kennedy's inspiration since likable baddies was a standard Ranown feature. Yes indeed, Keith steals the show with his easy-going charm—a real contrast to the uptight Walker. At this early stage, Keith was an interesting actor, best at squinty-eyed cowpokes as Sam Peckinpah knew when casting him as lead in Peckinpah's brilliant but short-lived TV series The Westerner (1960).

The movie itself may have been a hurry-up job—probably that's why there's no Technicolor despite the great scenery, and probably why we get a recycled plot line from Hondo (1953). I guess the hurry-up was to take advantage of Walker's TV popularity. Still, the movie's a very watchable action-filled adventure. What's more, I don't care if the luscious Mayo was pushing 40, she could put her saddle on my horse any day.

From the moment that kids of the 1950s got a look at Clint Walker on the opening episode of Cheyenne (fall, 1955), we knew that he would be the John Wayne of our generation, just as a year earlier Fess Parker as Davy Crockett became our combination of Jimmy Stewart and Gregory Peck. So why didn't filmmakers make use of their potential? At first, Warner Bros. didn't want Walker to do movies at all, perhaps thinking it would take away from the high ratings of his show. That was of course ridiculous. He threatened to walk out and they belatedly gave him the lead in this B+ black and white actioner. He's the strong silent type (what else?) who comes across a gorgeous woman (Virginia Mayo) and her little boy (Richard Eyer) on the prairie - after the success of Shane, every western had to have an adoring little boy! Eyer was a fabulous child actor, and there's a terrific performance by Brian Keith as the sort of friendly-enemy that Dan Duryea played in so many of the Audie Murphy oaters. The cast makes this routine western seem a cut above the average, and I can't remember any other cowboy getting off more shots per second with his Winchester (other than Chuck Connors on the Rifleman series, of course) than Keith does here. One bit you'll get a kick out of - at the end, Walker and company get to the title fort and are attacked by Indians. When they ride up, there is no water in sight. Anywhere! But when the Indians attack, they have to cross a large river. Wha? Here's the reason - the Indian attack footage is lifted from a 1954 big budget western called The Charge at Feather River. (guy 'wild bill hickock' madison was the star). And if Walker fans had a sense of deja vu, even in 1958, there was a good reason for that too: An early Cheyenne episode, titled "West of the River," was a remake of "The Charge at Feather River" with Walker substituted for Madison, and all the large scale action scenes taken from that film.

OK, up front, I'm a huge westerns fan & I've always loved Clint Walker. A lot of these reviews have focused on a comparison with John Wayne's "Hondo". Well, when "Hondo" was made, Wayne had been starring in films for almost 20yrs, so please - guys - cut Clint some slack, OK? He had been plucked from an everyday life only 3yrs before, with no previous acting experience, & this was his first starring role in films, in the lead no less. I think he carried it off pretty well. It's full of good action sequences, the scenes with Clint & child actor Richard Eyer are sweet & the tension between Clint & Brian Keith is pretty cool. The budding "romance" between Clint & Virginia Mayo doesn't come off so well, but I remember reading elsewhere that she wasn't too happy about being cast opposite a TV actor & that there was some resulting tension on the set. All in all, I found this to be a pretty good entry in the western pantheon; well worth watching. As usual, tho, it's too bad Warner skimped & didn't film in color. What a waste of gorgeous scenery, both landscape & their leading man!

This western follows a familiar genre theme of a loner who comes to the aid of a woman and her son and guides them to safety through Indian country. The plot is spare with a twist of mistaken identity thrown in as an innocent man on the run scrambles to escape a hanging posse hot on his trail. Clint Walker is the reformed gunfighter whose reputation places him on the sheriff's wanted poster as fate takes him to a woman's ranch in the midst of an Indian uprising. Virginia Mayo is the widow and reluctant trail companion of Walker along with her son as they make their way to Fort Dobbs. Brian Keith steals the film as an unsavory gun runner whose rifles play a large part in the Indian attack on the fort. The film is not a polished feature but is a straightforward, no-frills drama and is worth watching.