The Duel at Silver Creek

A band of claim jumpers assault humble proprietaries , gaining ownership of undermanned mining operations and killing anyone who gets in their way including the family of Silver Kid : Audie Murphy . Later on, Kid seeks vendetta and sets out in pursuit the murderers , as arriving in Silver City he befriends the local sheriff nicknamed Lightning : Stephen McNally . Then Silver Kid is deputized by the marshal to help him to track down the assailant group and to discover who murdered his former deputy . Along the way, the sheriff falls for a stranger female arriving in the town, who may not be healthy for him , she is called Opal Lacy : Fay Domergue ; while Kid romances the charming Susan Cabot . Gun against gun for the rule of the town¡ .

This is an exciting Western with thrills , frantic action, go riding , crosses and double-crosses, and, of course , there are lots of shootouts. Here Stephen McNally is the real starring more than Audie Murphy. Both protagonists form an uneasy alliance against the outlaws who are infesting the territory through extortion , violent robbing and leaving no live witnesses . Stephen is acceptable as the tough sheriff who bears a wounded hand , though his role is supported by an unnecessary voice-in-off explaining the happenings . While quick-drawing Audie Murphy plays a nimble and swift gunrunner who seeks vengeance against those killed his father. Murphy was the most decorated soldier in WWII , and subsequently starred his self-biography : ¨To hell and back¨ and other wartime movies : ¨War is hell¨, ¨Battle of bloody beach¨ . Murphy played a lot of Westerns as ¨Texas Kid¨, ¨40 guns to Apache Pass¨, ¨The red badge of courage¨, ¨Guns of Fort Petticoat¨, ¨The unforgiven¨, ¨Arizona raiders¨, ¨Night passage¨, ¨Apache rifles¨, ¨Cimarron Kid¨, ¨The legend of Billy Kid¨, ¨Posse from hell¨, ¨Sierra¨, ¨Legend of Sam Guard¨ . Although he also performed in others genres in ¨The bad boy¨, ¨Joe Butterfly¨, and the considered to be his best one : ¨The quiet man¨. Both of them are accompanied by two gorgeous girls , the femme fatale Fay Domergue and the beautiful young Susan Cabot . Support cast is frankly excellent , such as : Lee Marvin, Walter Sande, James Anderson, Eugene Iglesias and Gerald Mohr.

It contains a luminous cinematography in brilliant technicolor by Irving Glassberg. As well as thrilling and stirring musical score by uncredited Herman Stein and Hans J. Salter . Being financed in budget enough by the important producers as Leonard Goldstein and Ross Hunter. This picture Duel at Silver Creek was professionally directed by Don -Donald- Siegel. At his beginning he made Westerns and Noir Films as ¨Private hell 36¨, ¨The verdict¨ , ¨The big steal¨ , ¨Baby Face Nelson¨. Then, he directed Clint Eastwood in notorious films as ¨The beguiled¨, ¨Coogan's bluff¨,¨Two mules and sister Sarah¨, ¨Escape Alcatraz¨. Directing successful thrillers as ¨Madigan¨, ¨Charly Varrick¨. Finally, he directed failed films as ¨Rough cut¨ and ¨Black Jack¨, as well as TV episodes until his death.

A small western town is surrounded by small mines and areas of land run by their owners. A gang of claim jumpers are forcing the owners to sign their claims over to them but then kill them anyway. When Marshall 'Lightning' Tyrone takes a party after the gang he leaves old timer Dan Music as Deputy of the town. Having failed to find the gang, Lightning returns to find to find that Music has been murdered (shot in the back). Lightning sets out to get to the bottom of the murder and has several suspects already before the deceitful Opal Lacy points him towards Luke Cromwell, known as the Silver Kid. Whenever the Kid proves it could not have been him, Lightning takes him on as a deputy.

I came to this film on the basis of it being Don Siegel's first western and the first film he made in colour. The plot is pretty basic and doesn't live up to the suggestions of the opening – instead becoming rather focused on the actions of a few characters. As such, it works on a B movie level and that is pretty much what I expected it to do. This focused plot is improved by a good range of fun characters – with fancy names and exaggerated characters to match: the tough broad, the kid, the tough sheriff, the old coot etc. All the clichés are here but they are delivered with a slight sense of fun that helps it move smoothly. The colour is good and Siegel's direction is solid enough (although he would do much better later).

Despite top billing on imdb going to Murphy, the real lead here is McNally and he does it well. His sheriff is tough, friendly and it is him we care about when the final shoot out comes. Murphy is good but his character has less meat on it and he has therefore less to do that really sticks in the mind. Domergue is given a good character and she convinces as a sort of Western femme fatale. Cabot has a much more standard role and is less interesting as a result. Aside from Domergue the 'baddies' are fairly unmemorable; when the film started they were tough and violent but eventually we are presented Mohr's words in place of this and it really isn't enough for a fun B-movie.

Despite it's obvious flaws this is a really good fun B-movie western and you'll like it if you view it as such. The plot is basic but enjoyable with plenty of likable characters who are as bright as the Technicolor they are presented in. Siegel's first western is a fun film and should be enjoyed as such – it's far from his best and fans may only come to it because of the significance in his career but it is worth seeing if you're in the mood for this type of film.

Don Siegel's "Duel at Silver Creek" opens with vicious gang of claim jumpers let by a killer called Rod Lacy (Gerald Mohr) who'd been forcing miners to sign away their claims through fear of torture or death…

These claim jumpers were clever enough not to capture some of the bigger mines where there might be enough men working to put up a fight… Usually they picked on the claims being worked by one or two men… And more defenseless the men were, the better they liked it… Their plan was simple and easy because no one knew who they were…

Since their victims either disappeared, or were found dead, there wasn't anyone who could put their finger on them…

One day, in the Tomahawks, the same gang forced Cromwell's old man to sign over the little claim he had and then they killed him… Luke went after them and managed to get one of them before they shot his horse out from under him…

Then a few miles of Silver City, jumpers moved in and killed an old man who struck it rich… As usual they made a clean getaway but this time they left a trail…

The Marshal of Silver City decided to get up a posse to track them down but the posse lost them in the chase and he took a bullet through his right shoulder… So he was dropped off at the army hospital in Fort Lowell and they went back to town… There Lightning met Opal Lacey who promised "Brown Eyes" she's going to find him a nuisance when he gets back in one week…

Audie Murphy plays Silver Kid/Luke Cromwell… He didn't have the face of a killer but he had the cold steel look of one… His hands are quick and sure…All he knows is how to handle a six-gun and poker…

Faith Domergue plays Opal Lacy, the elegant woman with a secret agenda and a brother who's a mining engineer…

Stephen McNally plays the famous Marshal who wasn't interested in the Kid's poker, but he was interested in the way he handled a six-gun… He needed a right hand and he had the fastest one he ever saw… He didn't see it dangerous to make him his deputy…

Susan Cabot plays Dusty Fargo, the innocent girl who takes care of the Marshal better than many a wife he knows…

Eugene Iglesias plays Johnny Sombrero, the hypocrite man who looks mighty happy about something… maybe for the 'gift' of love he just made that night to prove he'd accomplished it to the girl he wants

The Duel at Silver Creek is directed by Don Siegel and co-written by Gerald Drayson Adams and Joseph Hoffman. It stars Audie Murphy, Stephen McNally, Faith Domergue, Susan Cabot and Gerald Mohr. It's a Technicolor production with Irving Glassberg the cinematographer. The music is scored by Hans J. Salter (director Joseph Gershenson) and location for the shoot was spread over four California locations; Ranches Ray Corrigan, Janss Conejo, Iverson and at Vasquez Rocks Natural Area Park.

A gang of crooks are murdering miners for their gold claims. Luke Cromwell (Murphy) loses his father to the gang and quickly reinvents himself as a gambling gunslinger known as The Silver Kid. Down in Silver City, Marshal Lightning Tyrone (McNally) is determined to bring to justice the claim jumping murderers. But he has a problem, his trigger finger is inoperative after he was shot, thus he can't let the bad guys know he is no longer "Lightning" on the trigger. After witnessing some of The Silver Kid's handy work, Tyrone hires him as a deputy to watch his back as he sets about weeding out the bad in Silver City. Luke is only too happy to help, he wants vengeance for his father's murder. But two ladies in town are to have a big impact on both of their lives, the question is if both men can finally achieve their goals without further loss of life.

Brisk,colourful and highly entertaining Western fare for the undemanding matinée crowd. Forget all hopes of depth and intricate characterisations and expect an action packed shoot em' up instead. Siegel would go on to much bigger things and leave a lasting mark in cinema, here he makes a standard screenplay ping with excitement whilst getting spirited performances out of the cast. One look at the character names gives you a clue to what sort of Western this is: The Silver Kid, Lightning Tyrone, Opal Lacy, Johnny Sombrero, Rat Face Blake, Pop Muzik, Tinhorn Burgess (Lee Marvin in his first credited big screen outing) & Jane Dusty Fargo. Wonderful. Throw in some lovely scenery, Domergue's explosive costumes and the nice pairing of McNally & Murphy, and it's a film that's hard to dislike. Hey! It even comes with a film noir like narration as well.

Don't dwell too long on the dialogue and simplicity of it all, just enjoy it for what it is. Good fun. 7/10

Duel At Silver Creek is a co-starring vehicle for Audie Murphy, the last of the great B-movie western stars, briskly directed by the great Don Siegel. The baby-faced Murphy, who made 46 films in 20 years before dying in a plane crash, was the most decorated soldier of World War II. (In fact the star's appearance can be taken as an ironic comment on visual stereotyping as John Wayne, who looked every inch a hero, avoided the call up entirely.) For the most part Murphy starred in second-rate vehicles with second-rate talent. A few titles have stood the test of time, such as Red Badge Of Courage (1951) or The Unforgiven (1960) both directed by Huston, or Boetticher's fine A Time For Dying (1969), also the actor's last film. By and large, however, Murphy suffered from a bland screen persona which only strong direction and casting could overcome, even if most of his vehicles remain watchable.

Siegel, who went on to direct Dirty Harry (1971) and Charley Varrick (1973) was here at an early stage in his career, but had already made three or four other westerns before this one, his first in colour. Duel At Silver Creek is perhaps the most successful of those so far principally because the director is able to steer events along quickly enough to cover most of the weaknesses inherent in the script, and able to create a cast strong enough to balance out Murphy's presence. It opens as Luke Cromwell and his older partner work a gold claim, only to become the latest victims in a murderous claim-jumping racket. Luke's partner is forced to sign over the property while, after an exciting chase and shootout, Cromwell only narrowly escapes his own abrupt end. Soon he resurfaces as 'the Silver Kid', the baby faced gun-toting gambler, in a town where Marshall 'Lightning' Tyrone is also after the crooks. Chief among the suspects is Johnny Sombrero, a taunting thug who may be in league with the outlaws. The Marshall begins to develop an infatuation with the Opal Lacy (Susan Cabot), sister of the chief villain who by this time has also arrived in town. Meanwhile, handicapped by a wound, Tyrone is forced to turn to the Kid when the existing deputy is shot, and the two form an uneasy partnership.

The above plot summary shows just how clichéd many of the plot points of Silver Creek are. A lot of the film reveals its B-movie origins, perhaps chief of which is the cliché of the crippled lawman. As the Marshall nurses his secret weakness, still hoping the keep the 'indian sign' over the ambitious Sombrero, the obvious irony is his reluctant need for the younger man to come to his aid. To this one might add the over-familiar dichotomy between the woman of the world (Opal) and the good girl (Dusty), the hiding of a key witness in a secret cave, as well as Silver Kid's conspicuous white handled armaments - conventions familiar to those versed in the genre. Despite these commonplace matters, Siegel still manages to turn in one or two striking scenes, such as when the sexually provocative Opal abruptly strangles a wounded man awaiting the doctor (thereby demonstrating the dead end nature of her charms) or when Pop, the original deputy, is shot and left facedown in the rain. Siegel's film has the advantage of co-starring Murphy with Stephen McNally as the Marshall and, after the opening sequence; they more or less spend equal time on screen together. McNally's maturity, both as actor and character, balances out the Kid's inexperience nicely. In particular the older actor's voice-over (a relatively unusual device in an otherwise straightforward western of this sort), places a lot of the action in context, adding an authoritative framework to somewhat flimsy proceedings. It also has the useful advantage of not requiring the Kid to explain himself too often, where a lack of gravitas would be a disadvantage. Several times explicit reference is made to the Murphy's youthful appearance, so at odds with his lethal potential. "He didn't have the face of a killer," says the Marshall on first sight of his ally-to-be, "but I noticed his hands were quick and sure." In fact the Marshall's authoritative voice-over like this, grounding events in descriptive seriousness, relates the film to a genre form that would be very familiar to contemporary viewers: the radio western. (I don't think Murphy ever did a series on air). In radio drama conventions of the period, a single male narrator frequently might 'carry' events by the force of his personality, his voice the sole source of moral judgment.

Dressed in black leather, self conscious and slightly gauche, the Kid's character and his relation to a mature lawman reminds one of 'Mississippi' in Hawk's far superior El Dorado (1966), played by James Caan, or the Ricky Nelson part in the earlier Rio Bravo (1959). These later roles would be better developed, both in their relationship to the older mentor (Wayne, in both cases) as well as the moral intelligence behind a flashy rig. Set up with double guns, reserved although unnervingly assured, the Silver Kid remains two dimensional, a perception that not even his awkward romancing of Dusty can allay. Fortunately, as well as the strong role of the Marshall to distract us, there are some colourful characters further down the cast list. Notable is Johnny Sombrero (played by actor Eugene Iglesias, looking remarkably like a young Sean Penn) - as well as Tinhorn Burgess an already effective Lee Marvin, then currently working his way up through the ranks of B-heavies to future stardom.

Silver Creek remains excellent entertainment, notably in the vivid DVD reincarnation that revels in a crisp colour picture with a range of vivid colours characteristic of 1950s' film stock. Incidentally, modern viewers will relish lines like (on the Marshall's damaged hand) "It's going to be kinda stiff for a while but you need to keep massaging it," as well as (on Opal's coded attractions) "Women like that are likely to a put a man's shooting iron plum out of action." Others will simply want to buy this and hark back to a less cynical period of western production when, with little psychology and angst, the biggest clue to man's intent was the size of his sombrero.