Thunder Over the Plains

This just became one of my favorite Randolph Scott movies.

First, there's an intelligent script by Russell Hughes, who wrote for some good radio shows like "Nightbeat" and Alan Ladd's "Box 13", as well as such films as Anthony Mann's "Last Frontier", Delmer Daves' "Jubal", and even the best of the giant-bug movies, "Them".

Then, there's the look and feel of the film. Director Andre De Toth and his great cinematographer Bert Glennon (who had done remarkable work with the likes of Josef von Sternberg and John Ford) light and shoot for realism and emotional impact. Glennon had also shot "Man Behind the Gun" (available on the flip side of this DVD), so I suppose director Felix Feist could be blamed for that film's phony-looking stage sets. Here, in "Thunder... ", a barroom scene looks like it was shot in a real barroom (foreshadowing Clint Eastwood's "natural lighting" technique by decades) and exteriors are shot outdoors. To be fair, the Feist film may have had budget or producer issues, but given that film's potential (dealing with water rights, corrupt politicians, the possible secession of southern California, even the semi-legendary Joaquin Murrietta as a supporting character) it still seems like a typical, entertaining, 40's-style B-movie. "Thunder...", released the same year, 1953, seems more forward-looking, more compelling, more of the age of the "adult" Westerns, even though the literally flag-waving ending with its narrative paean to the great state of Texas kind of pulls us back to B-movie-land.

In post Civil War Texas, an Army captain is charged with bringing in an outlaw who has become a legend for taking on the Carpetbaggers. It begins and ends with hokey narration, but in between there is a fairly interesting story, helped by nice color cinematography. Scott is his usual solid self as the captain. McGraw plays the outlaw, but it is Barker (coming off his final Tarzan movie) as another Army captain that is the real villain here. Kirk does well as Scott's understanding wife. It's not up to the level of Scott's later Westerns with Budd Boetticher, but it's competently directed by de Toth. The final gunfight is too drawn out and somewhat anti-climactic.

During reconstruction, Texas-born Army Captain Randolph Scott is torn between duty and his fellow Texans (including a young Fess Parker), who are in a life-or-death struggle against corrupt officials and ruthless carpetbaggers. Meanwhile, slimy officer Lex Barker gets a little too close to Scott's wife.

Thunder Over The Plains sags just a bit in the middle, but has great production values and is fairly ambitious for a 1950's B-western, with some pretty complex characters. The cinematography and direction by Andre De Toth are excellent.

Elisha Cooke Jr. is pretty good as a sniveling tax collector. Lex Barker's character is especially vile, kind of a surprise considering the times in which this was made and the fact that Barker is so handsome and all-American looking!

Randolph Scott often shines as typical westerner. Here he plays Captain Potter a perfect example for Christian charity. He even prefers humiliation and danger to reputation of his lovely wife. He is a hero and a saint.

Scott never looks unbelievable in his part.

Lex Barker, former Tarzan and later superman "Old Shatterhand", plays against his image as arrogant villain. And I think he does it very well.

The story is entertaining and there are a lot of other good actors like Henry Hull, Phyllis Kirk and Elisha Cook jr. in it.

This really is an enjoyable B-western directed by veteran Andre de Toth.

(1953) Thunder Over The Plains WESTERN

When the north defeated the south during the civil war, unfair practices were being exercised when southern farmers were unfairly overtaxed as opposed to regular farmers living in the north, forcing some to give up land easily belonging to them by auction. Fictionalize story line based on fact that if there is any reason to watch this film, it would only be for the history lesson. The action is not a plenty, but well- known Western actor Randolph Scott's tall, valiant screen presence keeps the film from becoming boring. This is the fourth of six movies Randolph Scott collaborated with director Andre De Toth.