The Road to Denver

If anyone is thinking this is another journey for Bob and Bing, forget it. The Road To Denver is your average western from Republic in its declining years after John Wayne was free of the contract and the B western star stable had gone or moved to television.

The bread and butter of Republic Pictures were those B films of Gene Autry, Roy Rogers and the rest of the gang. By 1955 only Rex Allen was still doing films for them and he was in his final year. But that's what Republic did best so they kept doing it until the studio closed in a couple of years.

The Road To Denver is about a pair of estranged Confederate veteran brothers from Texas, John Payne and Skip Homeier. Homeier is playing his usual young punk who brother Payne has to keep bailing out of trouble. Payne gets tired of that soon enough and the brothers part.

But both travel different roads to Denver and wind up on different sides of a feud in the town. Payne hooks up with Ray Middleton who wants to start a stagecoach line and Homeier allies himself with town boss Lee J. Cobb who wants nothing in that town he doesn't have a piece of. Both Payne and Homeier have eyes for pretty Mona Freeman who is Middleton's daughter.

The Road To Denver is directed by Joseph M. Kane who with William Witney was the favored director of studio boss Herbert J. Yates for his cowboy stars. Quantity was the byword at Republic not quality and Kane delivers his usual workman like product.

I think the film had potential to be something better if someone like Howard Hawks or John Ford or Henry Hathaway got a hold of it. The ending is far from satisfactory as well.

Still for the die-hard western fan The Road To Denver should satisfy. And John Payne is always good.

John Payne and Skip Homeier play brothers in this nifty western. One's a calm ex-gunfighter who wants to settle down and the other Is a hothead who ends up becoming a hired gun for Lee J Cobb ( the villain) and ends up against his brother. No guesses who plays the hotheaded brother. Skip homeir has carved a career playing hotheaded characters with twitchy trigger fingers. Well made western from Republic studios

Skip Homeier is a young Texan with a temper. He and brother John Payne can't stay in one place for long before Homeier gets them in trouble. This time, he's in jail. Payne busts him out, and they asquatulate and part ways. Payne winds up in a town where he's working for ambitious businessman Ray Middleton, who has a pretty daughter who can cook in Mona Freeman. Along comes Homeier, who goes to work for the town's saloon owner and general no-goodnik Lee J Cobb. How long before the two brothers clash over money or jobs or Miss Freeman, and who will come out on top.

It's a very ahndsome shaky A western under the direction of the always reliable Joseph Kane. Kane doesn't waste much time in subtlety or subtext,but he does have his performers indulge in small business that lets you know he understands how to underline what's going on. Instead he tells his story, and it's a good one, performed by top actors.

Although this western is an enjoyable way to spend a couple of hours, everything in it is so predictable and the acting so mediocre that does not really worth anybody's time. True, it has some ideas, but it prefers the easy solutions right from the beginning. I have given it 4 out of 10.

Several reasons to comment on this entertaining but otherwise pretty routine Western. Scope out the saloon at the beginning. It may be the only Western watering hole I've seen with actual pink accents for inside and outside decor. How the heck did that happen in a macho horse opera. Maybe Republic had a few gallons left over from a Vera Hruba Ralston flick. Also, note how those early scenes along the sagebrush trails resemble the wistful Frederick Remington paintings of the early West. They're subdued pastels and in my book, quite striking, especially with the light snow cover unusual for any Western. Then there's Skip Homeier creating another of his cocky young punk characters he was so expert at. Working at lowly Republic would never get you an Oscar in snooty Hollywood. But in my book, Homeier was as good at etching memorable characters as any of the higher-priced talent. Too bad he eventually matured out of these roles, but here he's near his peak as the hot- headed young Sam Mayhew.

The movie starts off fast, but sags somewhat in the middle—probably to accommodate the stagey skills of Broadway heavyweight Lee J. Cobb. (Notice that he has no outdoor scenes, holding forth instead from his saloon headquarters. That was probably in his contract so he wouldn't have to travel to Utah locations.) I was really impressed with the screen presence of Ray Middleton as the limping John Sutton. He's such a quietly imposing character that exudes integrity and strength. He certainly qualifies for a bigger career. Much of the movie's appeal comes from the cast, even Mona Freeman as the sweet young thing. She may be miscast, snuggling up with 43-year old Payne, but she does have a winning personality. All in all, it's a worthwhile little Western with a positive message of the sort that unfortunately they don't make anymore.