Run for Cover

Nicholas Ray will be remembered for "The Lusty Men," "Johnny Guitar," "Run for Cover," and "The True Story of Jesse James."

With a slight echo of "High Noon," the film is Cagney's first Western, shot in stunning Technicolor and VistaVision, since Lloyd Bacon's "Oklahoma Kid" in 1939...

Cagney was beginning to show his age, but his performance is colorful as always... It is interesting to remark that Grant Withers whom Cagney had supported in his film debut ("Sinner's Holiday," 1930) and his third movie ("Other Men's Women", 1931) is in his support as Gentry....

Released from a six-year prison term for a crime he did not commit, Cagney goes West, where he meets John Derek...

Riding along, they innocently become involved in a train robbery and are later ambushed by a posse... Derek's leg is smashed and is taken to Viveca Lindfors' farm where she nurses him and falls in love with Cagney...

The townsfolk offer Cagney the tin star, and he appoints Derek (who is now a cripple), as his deputy...

Derek's bitterness over his bad accident separates the two men in different directions and soon are seen on opposite side in a fight involving Grant Withers' widely known gang and a group of Indians...

Not a terribly deep western, but a satisfying one that makes some decent social commentary. Unfortunately, this is a VistaVision film, but the copy I saw was in Academy ratio. So I can't comment too much on the cinematography... I'll just say I didn't see anything there that hinted at greatness. I'm not the world's biggest Cagney fan, however I liked his performance here as a man of upstanding integrity. This might also be the film's biggest weakness, the protagonist is a little too perfect. But he's a hero that's enjoyable to watch interact with those around him, especially those of lesser character. The supporting roles by John Derek and Viveca Lindfors are unremarkable but solid. The movie keeps things moving at a steady pace, maybe too steady but quite watchable. There are a couple of interesting surprises as well. There are certainly better westerns out there, but you could do a whole lot worse.

This film is a criminally underrated old western. The acting, story, and cinematography are all great and it was extremely enjoyable to watch. This is one of James Cagney's later films but he is still full of energy and this is up there with his best performances. The movie has a lot of great lessons and themes about not jumping to conclusions, not trying to find the easy way out in life, and dealing with one's past. The cinematography is also spectacular throughout the entire film and I love the setting in the mountains. The story is suspenseful at times, emotional, and scattered with great action scenes. Overall this movie is a must-see for classic western fans and those who just like good films.

Wandering gunman Matt Dow (James Cagney) meets hot-headed young man Davey Bishop (John Derek) on the way to a small ranching town. They get mistaken for train robbers, and a posse seriously injures Davey. Once their identities are properly established, Davey is left to convalesce with Swedish farmer Swenson (Jean Hersholt) and his daughter Helga (Viveca Lindfors). Matt sticks around to mentor Davey, and Helga falls for the older man. The townsfolk hire Matt to be their new sheriff, and Matt chooses Davey to be his deputy, but trouble is on the horizon.

I liked this western despite its faults, which include some script implausibilities and a flabby final act. It was really nice seeing Cagney in something new to me, as there are now only three of his movies that I have not seen. He's a little thick around the middle but he still has screen presence in spades, and he seems natural in the western setting for a change. John Derek is someone I would never call a favorite, but he fit his role well. Lindfors was lovely and low key. One of the best things about this movie is the spectacular Colorado location cinematography, with director Ray making the most of the VistaVision format.

This was the last film of character actor Jean Hersholt, he of the eponymous Humanitarian Oscar. I was also moved by the appearance of early 1930's leading man Grant Withers. His major studio stardom was short-lived and he later moved over to Republic Pictures, mainly thanks to lifelong friend John Wayne. By 1955, Withers was in ill health, and despite only being 50, he looked a good 15 years older here. Here he has a small role as a bandit leader and shares his one big scene with Cagney. Cagney had made his film debut in 1930 in Sinners' Holiday in support of Withers, who was a leading man at the time.

A rather maddening western. Apparently Paramount went all out for an oater, filming in gorgeous southwestern Colorado and Aztec ruins of northwestern New Mexico. In short, there's plenty of scenic eye candy, while if there's a studio set anywhere, I couldn't spot it. Then too, there's A-list Cagney, maybe on the aging downgrade, but still Cagney. Seems he's trying to rehabilitate young man Derek from both a leg wound and a checkered past. As the new town sheriff facing a band of outlaws, an unreliable deputy Derek, and a pack of town ruffians, he's got his work cut out.

As I see it, there's a problem with the screenplay—it's too loose and lacking in focus, rambling from one incident to the next in no particular order. Thus, neither tension nor suspense builds over time nor into the rather poorly staged climax. I suspect Paramount was trying to cater to Cagney's starring presence since he's in about every scene. He's his usual commanding self. However, that's part of the problem since Derek lacks the presence needed to create chemistry with the older, compelling man. Thus, their scenes together appear lop-sided in the extreme, and the heart of the movie fails to gel.

I guess the studio figured young Derek's wayward role was apt material for brilliant director Nick Ray, who's specialty was troubled youth, i.e. They Live By Night (1948), Knock On Any Door (1949). Then too, Ray would soon triumph in the following year's iconic youth film, Rebel Without A Cause (1955). Unfortunately, I don't see any of his usual brilliance here, and I suspect he was neutralized by the rambling script and an A-list star. Though myopic editing may have figured, as it does in the river swim which strangely lacks any sequential coherence.

All in all, the 93-minutes amounts to a disappointment given the production values and talent involved. In my view, the best parts are those lushly vivid scenes from Colorado's Rockies and rivers.