Station West

Dick Powell plays his usual sarcastic self in this nice little RKO western about an Army undercover officer investigating a series of gold shipment robberies along with the murder of two soldiers.

He gets embroiled with film noir queen Jane Greer as the manipulative seductress who is up to no good. She trades a lot of quick, snappy one-liners with Powell and of course they fall in love. Good dialog.

Agnes Moorehead appears as the gold mine owner who is romantically involved with the Army Captain of the investigation, Tom Powers.

We also get Raymond Burr as the corrupt but wimpy town lawyer who's involved on the periphery of the robberies that's taking place. Burr was a good heavy for about 10 years before he became PERRY MASON. Too bad he doesn't get to play that kind of character, here. But even as a wimp, he's still sleazy.

Nice fistfight scene between Powell and Gunn Williams, who plays one of Geer's henchmen thugs here. He doesn't get to say much other than look mean, but then the role doesn't call for much of that, either.

Also notable for the appearance of Burl Ives as the singing hotel clerk who at first, gets on Powell's nerves but later becomes an important ally in his investigation.

And at 80 minutes, the film moves along quite smoothly with no awkward moments or wasted screen time. The whole thing ends before ya know it.

Gets a 6½ out of 10 for good story and decent action.

In the Films of Dick Powell, it's pointed out that Powell had done a western only twice before in his musical period. Cowboy from Brooklyn and Riding High had modern western settings.

Only Station West was done during Powell's time as a noir star and he brings the genre west with him. Done in the obligatory black and white photography, Station West is a moody atmospheric thriller.

It's not a mystery because you pretty much know who the bad guys are early on. But it does show Powell's dogged determination to find out who committed a gold robbery in which two soldiers were killed while guarding the shipment.

Powell gets good support from Jane Greer as town saloon owner, Agnes Moorehead as a mine owner, and Raymond Burr as a shyster attorney. Burr is a revelation. Usually the villains he did before doing Perry Mason are pretty strong characters. He's quite the weakling here.

Powell never made another western feature film, but his Four Star Productions produced Zane Grey Theatre in the Fifties on television and Powell himself appeared in many of the half hour stories.

Dick Powell was a musical comedy star in the 30's who in 1944 made a dramatic career change when he switched to hard-boiled private eye/cop roles. Station West, his only western, is basically this character in a western setting. Make no mistake, Station West is a good western.

Powell plays an undercover army officer trying to find out who murdered two soldiers while stealing a gold shipment (No not the Gold Diggers of 1933). Along the way he meets Jane Greer as a business like saloon owner who may not be what she seems to be.

One of the best moments in the film is the knock down drag out fight Powell has with Guinn "Big Boy" Williams, playing a villain this time around. At first, after Powell knocks him down in the saloon, Williams utters a classic line: "You're too small to have made such a big mistake".

Other notables in the cast include Raymond Burr as a cowardly lawyer, Agnes Moorehead as Powell's "contact", Tom Powers as the army commander, Powell regular Regis Toomey as an undercover agent and an unbilled Burl Ives as a guitar strumming hotel clerk.

The black and white photography is excellent, particularly in the outdoor scenes. Station West raises the question as to why Powell didn't make more westerns. This was a good one.

This excellent Western is really a tough film noir cleverly set in the Old West. The dialogue is sublime, so razor sharp that the actors probably had to bandage their hands after reading the script. And there are interesting little details as well; for instance, the way Dick Powell condescendingly pats attractive women on the arm (the way you might a pet) to let them know who's really in control. (Or so he'd like to think.) Toss in a first rate supporting cast that includes Raymond Burr, Burl Ives, and Agnes Moorehead - all generously given their scenes to shine - and you've got one heck of a movie.

On the surface, Dick Powell, as the undercover military officer trying to solve a series of gold robberies, is an unlikely leading man. He's more commanding here than many square-jawed actors, and when the film is over it's hard to imagine anyone else in the role.

This is one of those extremely satisfying movies where nothing seems forced or labored. It has that effortless fluidity and clearness of purpose that makes it just as entertaining today as I'm sure it was 50 years ago.

In the first fifty years of cinema, the year of 1948 had to be the best for the western genre up to that time. For, in 1948, movie producers generated a number of very good features like "Fort Apache," "Yellow Sky," "Blood on the Moon," "Four Faces West," and "Red River." "Station West" was also one of the better westerns made that same year.

"Station West" features Dick Powell as John Haven, an undercover government agent assigned to investigate a gold robbery and the deaths of two guards, both US cavalrymen. Some have compared Powell's temperament to that of twentieth century detective Phillip Marlowe. He surely has both the sarcasm and self-assurance of the fictional private eye even though Powell is out of his normal character by appearing in a western. Anyway Haven takes the night stage to Rock Pass, a booming but also a corrupt town. The guitar-playing hotel manager (Burl Ives) immediately recognizes Haven as a stranger and lets him know that "Charlie" (Jane Greer) and her minions have their hands in nearly everything of importance. As Haven checks in, he discovers that he will have to make his own bed and that fresh towels will not be provided. "Thanks for the keys," he quips to the singing hotel manager.

Things happen fast in the town gambling house/saloon, where suspicious characters come and go. Haven is attracted to the attractive femme fatale Charlie (actually Charlene) as folks like gambling manager Prince (Gordon Oliver) and house bouncer Mick Marion (Guinn Williams) watch with scowling faces. Even the bartender (John Doucette) eyes the stranger with unfriendliness and suspicion. There is also the jellyfish attorney Mark Bristow (Raymond Burr). Before long, Haven secretly meets with Captain Iles (Tom Powers), Lt. Stellman (Steve Brodie), and Mrs. Caslon (Agnes Moorehead) to work on a plan of action for the investigation. It is obvious that Haven, who has a personality conflict with Iles, has his own methods for smoking out the bad folks. Back in the barroom, Haven – with difficulty – in an all-out brawl defeats Mick. But Charlie, impressed with Haven's victory and toughness, hires him as her transportation boss. In fact, Charlie seems to place much trust in Haven. And Haven obviously likes the attractive woman. So are these two – protagonist and antagonist – really falling in love with each other? Anyway, Charlie has set his plan in motion to get the evil ones, not quite realizing Charlie's role.

Along the way there are several odd scenes. For one, Haven is looking for the gold cache that he ditched when suddenly Mrs. Caslon sneaks up behind him holding two loaded pistols. She thinks he stole the gold. But since Caslon is wearing a nineteenth dress not conducive to riding one wonders how she happens to pop up unnoticed by Haven away from town in the wild. Another odd part involves James Goddard (Regis Toomey). We know immediately after his shooting that he was a Wells Fargo agent. But why did he want to ride the (unprotected) night stage along with Haven in the first place? Also, Haven as a junior officer should be able to recognize a button from a military coat right away. He had to be told the information by the hotel manager. Perhaps some minutes of the movie were inadvertently cut; the feature seen was about 80 minutes long, chopped down by 12 minutes from the original release. Nevertheless the three described situations do not detract too much from the storyline.

The acting is great all-around, while the script is at a high level. Burl Ives homespun folksy singing is excellent. And how about Harry Wild's filming of this feature in beautiful Sedona, Arizona, a personal favorite? So, despite its minor flaws and the fact that action is limited, this western is worth seeing.