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John Wayne got to kiss a score of pretty ladies on screen, but his romance with Gail Russell as Penelope, the "Angel" in this story, shows the best screen chemistry I can recall. Wayne is the "Badman" Quirt Evans meaning that he settles a lot of arguments with guns a'blazin'.

He's used to fast draws, fast women, booze, bar fights, and so on. Penelope is a gentle Quaker woman living in the wilderness of the Old West. She and her parents model their lives on the teachings of scripture, especially the "Love your neighbor" ideal. Quirt gets shot in one of his many battles with gun wielding black hat bad guys; Penelope's family takes him in and nurses him back to health; during which time Quirt and Penelope get a look at each other with the obvious chemical reaction. Her sweet and vulnerable demeanor mixes splendidly with his gruff but awkwardly gentle persona.

When Wayne's nemesis Laredo (Bruce Cabot) shows up, Wayne is faced with the conflict of adapting the peaceful ways of Penelope, or reverting to his violent shoot-first-and-ask-questions-later lifestyle. Wayne's inner conflict to change his outlook on life is illustrated well, a great performance for the Duke. This all goes on under the watchful eye of the Marshall (Harry Carey), who serves as not only a foil for Wayne constantly threatening him, but almost like a self-appointed guardian who sees Quirt's potential for good, trying to steer him toward the light. Carey's humor, and good spirit plays off Wayne perfectly.

The film builds to a brilliant finish, with Quirt forced to choose between peace or violence once and for all. One of my favorite westerns. Great cast, great story.

Very different John Wayne film. A romantic western, if you will. Wayne plays notorious gunslinger Quirt Evans, who is wounded and nursed back to health by a Quaker family. The sweet and innocent daughter, Penelope (Gail Russell), falls in love with Quirt. But the gunfighter's got some bad guys to deal with, chiefly an hombre named Laredo (Bruce Cabot). Quirt will have to choose between his way and the Quaker way, which means choosing Penelope or the gun.

John Wayne is really good in this one. He's a very underrated actor that is often slighted by people that don't like the man, usually because they don't like his politics or something along those lines. But he was actually a very good actor who brought depth to most of the characters he played. Here he gets to show his softer side and it's one of his best performances from the '40s. Gail Russell is young and very pretty here. She does a great job in one of her two best-known films (the other being The Uninvited). Russell and Wayne have terrific chemistry. It's sad how her life turned out as she had the potential to be one of the greats. Harry Carey, Sr. plays a grizzled old marshal dubious of whether Quirt can change. As was often the case, he stands out above the pack. An excellent actor who could say more with a smile or a look than most could with a page of dialogue.

Amusingly there are characters in this movie named Hondo and McClintock, both names for future Wayne characters. It's a charming and enjoyable western that fans of the Duke will love but also I think people who don't normally like westerns can enjoy.

A famous gunfighter (John Wayne) is wounded in crossfire and a quaker family cares him and heals . During recuperation the daughter named Penelope Worth (Gail Russell) has a romance and falls in love for him . She eventually humanizing the gunslinger . And he has to choose between his violent world or the pacifist existence in which Penelope Worth lives . Meanwhile , he'll have to confront a malicious ringleader (Bruce Cabot) and his henchmen .

This well-handled production is a thoughtful Western but with average budget . By time this western was popular with the public . The film has rider pursuits , stampedes , shootouts , struggles and an agreeable love story . John Wayne gives one of the best interpretations of his long career . Bruce Cabot as Wayne's friend has an important and well featured role , he's habitual in his films . Gail Russell shined in the role as Penelope and provided a great acting . Rare and enjoyable beauty , she was to be groomed one of Paramout's top stars , but the alcohol took her and she was found dead and it attributed to the drinking . Gail was only 36 years old . Had it not been for the alcohol , Gail's career could have been one of the biggest . Besides , there appears Harry Carey Sr. as a tough sheriff , Carey was a veteran actor who played numerous Western . The motion picture is finely directed by the Wayne's usual screenwriter named James Edward Grant . There's also a lousy version in computer-colored . The flick will appeal to John Wayne fans and Western moviegoers . Rating : Nice and well worth watching .

ANGEL AND THE BADMAN is a film that many John wayne fans may not have seen; nonetheless it's one of his best that shows a very different side.

Wayne as Quirt Evans is wounded and taken in by a gentle Quaker family. After he recuperates he notices their daughter--the absolutely drop dead gorgeous Gail Russell.

The plot of AATBM is remarkably similar to Harrison Ford's WITNESS (probably a remake).

But what ultimately makes this movie work is Wayne's performance, and Russell's natural "Angelic" qualities. The camera really loves her. There's one scene where she confesses' her love for Wayne, and is surprised he doesn't feel quite the same: "I never thought it could happen to one and not another." Her outright innocence in this scene is incredibly touching, and endearing, and you see how this affects Wayne in the same way.

This truly uplifting humane Repubic Pictures western produced by John Wayne in 1946 is a genuinely wonderful film in many ways. As a hilarious fish-out-of-water comedy with surprising romance and outlaw danger, it allows Wayne to develop a masculine character of such admirable qualities via the steadfast Quaker rule that dominates the storyline. Wayne plays gunslinger Quirt who might as well be SHANE a few years later or Gary Cooper in FRIENDLY PERSUASION in 1956. Parts even remind me of WITNESS. Gorgeous Gail Russell is so beautiful I easily understand the cult following she developed even after she died so sadly around 1960. ANGEL AND THE BADMAN is a strong and friendly film with very funny scenes and some great western settings lifted by breathtaking photography. The conflict and the innocence work well together, and Wayne and Russell are believable as opposite who attract. It is a very well designed and decorated film with excellent production values. I would be keen now to see THE WAKE OF THE RED WITCH. We are having a John Wayne festival on TV in Australia this January and ANGEL screened on a Saturday night at 8.30pm for us all to enjoy. I certainly did.

A man on horseback races across the arid landscape. His horse faulters and throws the man. This is how The Angel and The Badman begins.

Wayne is Quirt Evans, a man with a past. He is rescued by beautiful Gail Russell, a Quaker girl with a strong, silent father and a marvelous, generous mother who makes donuts and cakes that melt in your mouth, but according to her are, "not very good, the flour you know...".

Poor Quirt never has a chance. He is healed body and soul by this devoted family. But not before he must taste his old way of life one more time, which leads to a dramatic conclusion.

John Wayne never looked better on film then in The Angel and The Badman. In one scene, he wakes from a coma, hears a noise, gropes for his gun, which is under the pillow and rises, gun in hand to face a startled and stunning Russell. The sight of John Wayne, shirtless, his hair un-combed and his gorgeous, almost purple eyes taking in the lovely lady in front of him, is something no woman from 6 to 106 should miss. If you are a fan already and have seen this delightful film, you know what I mean. If you are new to John Wayne, check to one out and fall in love.

Harry Carey plays the Marshal of the territory who keeps track of Quirt, not completely convinced of his conversion, until the surprising climax. Carey's quiet authority is wonderful to watch, and his sly humor a tonic.

The Dr. here over-plays his role, but he can be forgiven. The neighbor who has denied water to the Quaker settlement but is convinced by Quirt(without the force of his famous gun), to "be a good neighbor" and remove the top two boards holding back the water that used to flow into flums and irrigation ditches, is a real old west character. Films today just don't use actors with faces like his any longer. Too bad.

Yes indeed, The Angel and The Badman is a wonderful, old fashioned film. The kind they don't make any longer, but should.

Angel and the Badman (1947) is a movie that I recently watched on Tubi. The storyline follows a wounded outlaw that is picked up by a Quaker family and nursed to health. While in their care the outlaw falls in love with the daughter and hears their persistent message about non violence. When two outlaws arrive in town looking for him he will need to choose if he can follow the Quaker lifestyle or will need to revert to his old ways.

This movie is written and directed by James Edward Grant (Ring of Fear) and stars John Wayne (Hondo), Gail Russell (The Uninvited), Bruce Cabot (King Kong), Marshall Reed (Mysterious Island) and Harry Carey (Mr. Smith Goes to Washington).

The characters in this are very entertaining as is their evolution as the movie unfolds. Wayne and Russell deliver entertaining performances. The opening sped up horse riding scene gave me a chuckle and reminded me of this technique used at the time. The dialogue is very good and the religious content was fascinating, especially for when this movie was made. The settings and situations were fun. I will say the film had less action and was slower than I anticipated, but the twist shootout at the end was clever and entertaining.

Overall, this isn't the best western you'll ever see but it is unique and worth watching once. I'd score this a 7/10.

The Angel and the Badman is a milestone film in the career of John Wayne. It was the first film in which he had a substantial role behind the camera. My guess is that he must have lobbied Herbert J. Yates at Republic films for some creative control and Yates gave in to his studio's biggest moneymaker.

Though Wayne at times didn't have the best judgment in regard to his own personal projects, The Angel and the Badman is a winner in every way and doesn't get near enough credit for the work it is except from Wayne partisans.

Wayne plays young gun hand Quirt Evans, a most feared man in the territory, who wounded falls in the hands of a Quaker family who nurses him back to health. Wayne starts eying pretty daughter Gail Russell.

Pretty soon under her influence Wayne starts questioning the direction his life's been going in. Of course the Quakers do cheat a little on this question themselves. Though they don't believe in violence, the Duke's reputation as a gun hand comes in mighty handy in settling at least one neighborly dispute with Paul Hurst.

My favorite scene in the film and one of Wayne's best in all his films also involves his reputation. When Bruce Cabot and two henchmen find him at the Quaker home, Wayne runs one terrific bluff holding them off with an empty gun. This was the first time Wayne and Cabot worked together. In the sixties Cabot became a regular in Wayne films.

Angel and the Badman also has two other Wayne attempted reclamation projects. Gail Russell was one of the most beautiful women ever on the silver screen. She had a lot of tragedy in her life and died young. Wayne at one point gave her the lead in a film Seven Men from Now that he was producing, but not starring in, with Randolph Scott. She gave a good performance, but a lot of substance abuse had taken its toll.

Paul Hurst later on got a pay day from Wayne in Big Jim McLain in a scene he portrayed from a wheelchair. He was terminally ill with cancer and in fact took his own life shortly afterwards. The money was no doubt needed for Hurst's medical expenses.

Later on in McLintock Wayne said in one scene he doesn't give jobs, he hires men (and women). This was his idea of charity and something that never gets talked about enough by people, even some of Wayne's most devoted fans.

As this was his first film as producer, I have no doubt that the Duke wanted Harry Carey, the man he patterned his cowboy image after in this film. One of Carey's best screen performances as the "patient" federal marshal who's waiting for Cabot and Wayne to shoot it out so he can hang the winner.

Wayne's good friend James Edward Grant wrote and directed the film. Later on Frank Capra disparaged Grant as a bad influence on Wayne when they quarreled during the filming of Circus World. Grant did write some of the more conservative on Wayne's films. But I certainly can't fault anything he did in The Angel and the Badman.

In fact it's a winner in just about every respect. Even some Wayne haters might like this one.

After years of running our main character a cowboy played by none other than the Duke decides that it's time to lay low for awhile,, after being shot,, he is taken in by a Quaker woman, who he eventualliy falls for,, he has to keep his past from her so he doesn't lose her,, he also has to hope that his past doesn't catch up to him , as one of his former partners is hanging around waiting for his speedy recovery. this movie shows a very different side of John Wayne that you don't get to see very often,, a quite reserved kind of solitude, instead of the gun toting,, angry man we see most of the time. Harry Carey also is very wonderful in this picture as is Gail Russel.. not a bad western at all as there is some action sequences and the Duke returns to form near the end of the movie.

Fun movie about a cowboy named Quirt (John Wayne) who is wants to reform his ways after he meets a sweet Quaker girl. When he is shot, the Quaker family takes care of him, and after he wakes up the daughter (Gail Russell) falls in love with him. It's goofy and cliché, sure, but there's a really fine movie to be found in the familiar setup. Writer/director Grant create many good vignettes. There are several wonderful supporting characters who add a lot of worth to the proceedings, including Harry Carey as a marshall, Lee Dixon as one of Quirt's friends and old partners in crime, Tom Powers as the local, scientific, atheist doctor, and Olin Howlin as the town telegrapher. Howlin's character is pure comic relief, very humorously claiming a long friendship with Quirt, though he only saw him once when he was almost unconscious. Then Carey's character is wryly comedic: as the marshall, he's constantly stalking Quirt. He's sure that someday he'll get to hang the guy, and he harps on it constantly. The chemistry between Wayne and Russell adds an unexpected poignancy to the film. The scene where the two pick blackberries is simply beautiful, and their wordless climactic exchange is perfectly performed. Good action sequences, as well. 9/10.

An American Western. A story set on the frontier of the SouthWest about a wounded outlaw who is sheltered and cared for by a Quaker family. The daughter of the family is attracted to the gunslinger and helps him to undergo a slow and subtle character transformation in line with her philosophy. Meanwhile, a man who murdered the outlaw's foster father is intent on murdering him, and both are being tracked by a single-minded sheriff determined to bring justice to the valley. This a superior sagebush drama with delightful mix of romance and action. It has stunning locations in Flagstaff, Arizona. John Wayne convinces as a tough, grim and laconic, converted renegade and he has excellent chemistry with the luminous Gail Russell.

Gaill Russell was fun to watch in this film. I like her face - she was a pretty woman - and I liked the character she played, "Penelope Worth." I also appreciated the fine cinematography in the beginning of the film. I was disappointed it wasn't much afterward.

John Wayne's role as the "hero," so to speak, "Quirt Evans" wasn't that appealing to me anymore than was the name "Quirt." Wayne, like the crusty old characters he played the last few decades of his career, didn't want anything to do with the Quakers in here, but they turn his ugly personality into something much better. The movie featured a look at the Quakers theology and lifestyle but, if know Hollywood, you know it's distorted. However, they are painted as very nice people, which was good to see.

Overall, the story isn't bad, however, and it has some very nice touches. The problem I encountered, to be honest, was that it simply dragged too much in too many spots. Also, this movie needs a good DVD print. Clarity-wise, nobody has given this film justice, so maybe a good transfer would encourage me to view this again.

Few studios in Gower Gulch could afford to make first class productions. And the ones that tried usually crashed and burned when their efforts paled miserably in comparison to the major studios (1937's "Something to Sing About" literally killed off Grand National). Herbert J. Yates' Republic Pictures was one of the few poverty row moguls that could pull off a convincing 'A' effort, which essentially ended with 1952's The Quiet Man. Directed by Republic contract writer (and frequent John Wayne colleague) Jim Grant, Angel and the Badman is a very good picture, with a bravura twilight performance by the late great Harry Carey. Gail Russell gives a good performance that ideally fit her tragically fragile personality (she'd die at 36 of chronic alcoholism). Unfortunately, what hurts this movie the most is the terrible soundtrack. It appears to have been lifted from some dismal 15-chapter 1930's sagebrush serial. The music is so intrusive and inappropriate (most notable in the climatic ending scene) that it scars an otherwise entertaining, borderline classic. John Wayne's erstwhile drinking buddy, Bruce Cabot, a resoundingly mediocre actor, lives up to expectations as a mediocre bad guy. So severe is the soundtrack (-3 stars in my mind) and -1 star for Bruce Cabot's presence means 6 stars from me.

Is there anything more appealing than a goody-two-shoes winning over a big bad wolf? Every girl wishes she had that power. We all go for the bad boy, hoping we'll be so incredibly special, he'll change his ways just for us. Indeed, the reformed bad boy is probably the most desirable fellow you'll ever meet. So, if you want to see John Wayne (who always plays upstanding moral characters) playing a bad boy gunslinger who gets won over by a Quaker, check out the aptly titled Angel and the Badman.

Oh, the moony eyes! If anyone looked at me the way John Wayne looked at Gail Russell, I'd marry him. Gail gets swept away by his eyes as well, and is ready to leave her loving family, her homestead, everything she's known, if he asks her to come with him. He spends three weeks recuperating from an injury in her family home, cared for by her and her parents. When she sees him shirtless, tossing, turning, and moaning in his fitful sleep, she falls pretty hard. Even though he tries to warn her that he's bad, she has faith that all he needs is the love of a good woman to bring out his own goodness. If it were anyone else but John Wayne, we might think he's playing her and giving her every line in the playbook. But Duke is always a straight shooter (no pun intended) and he doesn't lead Gail on with any ulterior motives.

Is this film predictable? Sure. Is it white-hat-black-hat? Absolutely. But this is a universally appealing romance. It doesn't matter if she's a Quaker, a nun, a schoolteacher, or a kindly social worker. It doesn't matter if he's a gunslinger, gambler, alcoholic, or convict. We love the romances in The African Queen, Guys and Dolls, Heaven Knows Mr. Allison, Father Goose, and countless others. If she's an angel and he's a bad man, we're hooked.

John Wayne's performance in this film is one of my favorites from his long (if not exceptionally versatile) career. As an embittered gunslinger groping his way toward love and redemption, he makes the character's inner growth apparent by not allowing it to come to the surface except in neatly timed glance, frowns and smiles. The cool detachment of his character reminds us that he is really more dangerous than the young Penny (Gail Russell) perceives, and more thoughtful than those who know him as a gunfighter understand.

As dramatic action film, the film is well paced, and glows with considerable polish throughout. The production team is that of John Ford's of the time, and they are in top form here. Writer-director Grant (another Ford insider) has given us an excellent script and able direction.

The film was produced by John Wayne himself, who knew a good story, and who here allows us an odd insight into his personal politics - which were far more complicated than his right-wing fans or left-wing detractors ever understood. In the wake of the Second World War (and we all remember Wayne's war films), Wayne here produced one of the best defenses of religion-based pacifism on film. It should be remembered that during the First World War, Woodrow Wilson had pacifists jailed; in a little known incident in Wyoming Army recruiters dragged several Amish into jail and beat them brutally - several died. If I had to choose between Woodrow Wilson and John Wayne for president, I'd vote for Wayne.

Angel and the Badman speaks well of Wayne's conscience, and reminds us that, in his own rough way, he could respect the honest consciences of others. Whatever else we think of him, let us remember that he was a man who deserved - and gave - respect. This is, over all, the most respectful film he ever made, giving us his most respectable performance.

Angel and the Badman (1947) : Brief Review -

A quintessential idea that you get from the title, but John Wayne's persona makes this western watchable. There's not much depth or surprise in the storyline-just a straightforward tale rooted in familiar tropes. The idea of a hardened outlaw falling for a virtuous woman and trying to turn his life around was already well-worn by 1947, making this film feel dated even then. But it's "The Duke" who brings some much-needed spark. John Wayne, clean-shaven and commanding, adds something only longtime fans and Western lovers will truly appreciate. The plot follows Quirt Evans, a wounded gunman, who is cared for by Penelope and her Quaker family. She quickly falls for him, and Quirt doesn't take long to return the affection. The conflict is clear: Quirt lives a dangerous life, always watched by rival gunmen, while Penelope is from a peaceful, religious background. She's ready to follow him anywhere-but should she? And will Quirt even let her? Quirt attempts to change, embracing their peaceful ways and finding unexpected joy. Eventually, he chooses to leave her behind, believing she deserves someone better. But will he return in the end? Wayne's charisma with a gun in hand is always engaging. Gail Russell, though visibly younger, does a commendable job opposite him. The supporting cast is decent. Archie J. Stout's cinematography is solid, and the film's editing maintains a good pace. James Edward Grant's direction is serviceable but doesn't elevate the material beyond its typical setup. This is a familiar story told in a familiar way-and I just hoped for something more. Still, it's worth a single viewing.

RATING - 6/10*

By - #samthebestest.

This is one of Wayne's best movies, the simple but powerful story of a man changing for the love of a woman. It is always a great introduction to John Wayne for someone who has not appreciated his work, his best movies are about love and redemption. The Quiet Man, Stagecoach and The Angel and The Badman, are among the best movies ever made.

RELEASED IN 1947 and written & directed by James Edward Grant, "Angel and the Badman" is a Western starring John Wayne as a gunslinger in Arizona who finds temporary sanctuary with some pacifistic Quakers. And maybe love too with the beautiful daughter (Gail Russell). Bruce Cabot plays the gunman's nemesis while Harry Carey plays the aged-but-still-formidable marshal.

It's too bad that this was shot in B&W because the locations are spectacular. Wayne was facing his 40th birthday when this was filmed, which is funny because the daughter's mother (Irene Rich) keeps referring to how "young" he is. In any case, John was lean and relatively youthful-looking. On the other side of the spectrum, Gail is utterly stunning with her captivating eyes. Speaking of the feminine cast, saloon girls Joan Barton and Rosemary Bertrand are nothing to sneeze at.

One problem is that the romance is too blatant and develops way too quickly. But there are a few praiseworthy action sequences. One notable scene involves a couple in a wagon going off a cliff into a body of water.

The subtext relays three philosophies on violence: (1.) living it as a lifestyle, (2.) resorting to violence only when justifiable and more peaceful ways have been attempted or (3.) relying completely on nonviolent methods. Needless to say, the middle position is the best one and is, in fact, what the New Testament supports.

THE MOVIE RUNS 1 hours & 40 minutes and was shot entirely in Arizona (Sedona, Monument Valley & Flagstaff).

GRADE: B-

This film is one of the great classics of cinema history, nearly perfect in every way. I have to confess I never heard of it until I bought the DVD in Paris out of curiosity because I like Gail Russell. Watching it with French subtitles was hysterically funny in terms of the language differences: 'Hey boss!' is translated 'He, Patron!', and countless other mirthful examples. As usual, the French cineastes have shown great taste in treating this film as an international classic transcending all cultural boundaries. To call it a 'Western' is to condemn it to provincialism. It is far more than that. The luminous presence of the velvety, shy, and melancholy Gail Russell is truly the presence of an angel, and it is as if heaven were lighting the shots for her. She can never have delivered a better performance, nor in my opinion did John Wayne ever find better magic with a leading lady, even his chum Maureen O'Hara with whom he had such jolly roustabouts in more rough and tumble films later on. This film has a pervasive gentle humour which is delightful. Wayne himself is the perfect puer aeternus (eternal boy), wrinkling up his tough guy's visage in an instant into a childlike puzzlement and instant surrender to the playful Gail Russell's commands, on a docile and comical yes ma'am basis. They are like two ten-year-olds playing together, oblivious of the camera. Botticelli could not have drawn a more perfect angel for this fable. Who cares about the story, just sit back and watch this magic as if you were peeking through the doors of some lost paradise. Never would John Wayne rise so high again; this was his peak. And this was Gail Russell at her most glorious, her most divine. When you die, take this one with you.

(1947) Angel And The Badman WESTERN

Written and directed by James Edward Grant, for I don't remember too much about this movie other than I thought two of the action set pieces were impressive, particularly the horse and carriage sequence with a not so thrilling ending.

This is one of those films where the action sequences were thought up first before the story line "or" the story line is built around the action because the story line is very dismissive which consists a plot done before on older John Wayne Westerns! The action in this one consist of some of the most unbelievable stunts in terms of Western films of the genre.

ANGEL AND THE BADMAN is a John Wayne western with a greater emphasis on character development than usual; I found it quite interesting, although not one of his most exciting vehicles. He plays the "bad man" of the title, a wounded gunslinger taken in and healed by a Quaker family who teach him the ways of peace at the same time. The story is quite tender in places, and Wayne seems to relish the chance to play a character who develops a little differently in comparison to his usual tough guy persona. There are still some western staples and action for the fans to enjoy.