Le salaire de la violence

I give this movie a 9 out of 10 for its earnest (yet not overdone) acting, sympathetic (yet not sappy) treatment of Indians, and exuberant (yet not overwhelming) energy level throughout. The relatively unknown actors and filmmakers really tried hard here. Aside from the family conflict, there is an intriguing treatment of the theme of historical change and how the Old West relates to the New - also seen in movies such as Bus Stop, The Misfits, and Lonely are the Brave.

Gunman's Walk is not perfect - things get 'explained' a bit too neatly at the Freudian conclusion, for example - but there is scarcely a dull or uninteresting moment. Don't miss the unique details in this film, such as the instant mood swings that the characters, especially the Father, go through, and the astonishing bar scene where the Big Brother cavorts with hookers and sings "I'm a Runaway."

This is a very unusual western and it comes highly recommended.

Van Heflin played second lead in a score of pictures over 3 decades. In this excellent western he gets to play the lead, and his performance is one of the greatest of his long career. He displays a completely believable fatherly range of emotion and makes the audience identify with his 'how the west was won' mentality. Phil Karlson's deft direction keeps the pacing of this picture very crisp and poignant. The settings and western scenes are also quite excellent. All of this has been said without mentioning Tab Hunter's taught performance, which is really the defining touch that makes this movie great. Surprisingly, Hunter was a teen idol especially developed by the movie studio to be just another screen image. He defied the studios by delivering this amazing performance as a wild and reckless young man growing up in the shadow of his father's hard nosed old western legacy, determined to leave his own stamp on the developing times in the west. Gunman's Walk may be the most underrated western in screen history. It almost feels like a real metaphor for the western motif, and the changing civilization that beckons just over the horizon.

Director Phil Karlson is known more for his tough, gritty, violent crime dramas ("99 River Street," "The Phenix City Story," among others) than horse operas, but this tight little western is reminiscent of the best of Karlson's urban thrillers. Tab Hunter is excellent as the spoiled, egomaniacal, homicidal son of a wealthy rancher, who believes that his family's riches and position are pretty much a blank check that enables him to do whatever he wants to whoever he wants, including murder, because he knows that his father's influence will get him out of trouble. Hunter's tightly wound, controlled performance is a real eye-opener for those who always thought of him as just another pretty boy teen idol who couldn't act (i.e., Ricky Nelson, Fabian, etc.). This is by far Hunter's best work. You can see his internal spring winding tighter and tighter as he pushes the envelope further and further until it's just a matter of time before he explodes. Van Heflin is solid as his father, who's too busy building and maintaining an empire and can't, or won't, see the evil that manifests itself in his son, and veteran character actor Robert F. Simon is very good as the town sheriff and Heflin's friend, who realizes that he's given Hunter one too many breaks and is torn between his obligations to his friend and his duty as a lawman. Mickey Shaughnessy, who often played oafish drunks, dimwitted gangsters or other types of comic relief, strikes just the right note as a sympathetic deputy who doesn't think that Hunter is really as bad as his reputation. Karlson directs with his usual energy, marked by his trademark quick, explosive bursts of action. An intriguing film, despite its potboiler title, and worth a look for Hunter's fine performance and Karlson's vigorous direction.

The plot seemed quite fresh (even after my second viewing), though on analysis it includes familiar themes: tension between brothers, conflict between son and father leading to tragedy. A lot of this is down to the way it portrays the steady - not to say rapid - deterioration of the elder son so that he becomes a murderer; Tab Hunter deserves a lot of credit for this; at first he seems to be just a bit of a tearaway, but at the end he looks really vicious.

I like Van Heflin. He was great as the tortured Athos in "The Three Musketeers" and the decent homesteaders in "Shane" and "3.10 to Yuma", but I'm not sure that he carries off being the tough patriarch who won the country from the Indians.

Viewing the film in the political correctness of 2007, I blinked at the verbal racial abuse inflicted on the native Americans; two days later, I'm still trying to think of another 1950s Western where it was so overt. (I'm talking of verbal abuse, rather than cowboys killing lots of Indians.) The film proceeds at a pleasing rate, except for the somewhat overlong shooting-at-bottles scene very early on.

I don't know if "I'm a Runaway" was ever a "proper" song, but it was quite catching, even when sung by Hunter, and for once I didn't object to a musical interlude in an action film.

Rancher and old school westerner Lee Hackett is determined to mould his two sons in his own tough gun-fighting image. Something that backfires when his eldest boy, Ed, becomes a murderer.

Gunman's Walk on plot synopsis and summaries sounds like your standard B Western fare, and certainly the theme of parental influence is nothing new. But Phil Karlson's film, adapted from Ric Hardman's story, has many things going for it to keep it from being mundane and used solely as a time filler. It fuses together multiple issues, parenting, prejudice and ignorance during a time of change in the old Wild West, it's central character, Lee Hackett (Van Heflin), is seen as the link between old and new.

He has primarily lived his life as a shooter and killer of Indians, something that he is not totally committed to shaking off, but here he is now, a most respected and feared member of the community, faced with his two sons both taking different paths. One, Ed (Tab Hunter), is full of bile and gun slinging machismo, represents the old West. The other, Davy (James Darren), doesn't need a gun to feel like a man, his affection for half Indian Clee Chouard (Kathryn Grant) clearly gives a point of reference to the new West. It gives us two sides of the coin with one Lee Hackett perched firmly on the fence, to which Van Heflin gives an emotionally driven standout performance.

I wouldn't say that Gunman's Walk is undervalued as such (its director most definitely is though), it's possibly more like it's been tarred with that old saying brush called "B Western", a saying that unfortunately some use as being derogatory. Whilst if the truth be told the support to Heflin is rather flat (both Hunter & Darren are average at best). But some average support acting can't stop Gunman's Walk from being an intelligent and potent genre piece. I mean if only for Heflin and the catchy central song, "I'm A Runaway", then you should see this, but as it is, if you give it your undivided attention you hopefully will find it's really rather good and clever. 7/10