Rimfire

This is a good little western from Lippert studios, and I don't understand the low rating by IMDb reviewers. The film is a mystery story and is well-written, taut and compact, and in only 64 minutes. The cast, led by James Millican, does a uniformly good job, and there is nary a bad acting performance in sight from the supporting cast. One is taken aback by seeing suave, urbane Reed Hadley out in the scrubbrush, but it turns out he's the suave, urbane gambler in the story.

Now, we're not talking MGM or Paramount here and so you have to consider economics, but production values are better than expected and there is a good deal of action during this just-over-an-hour affair. Overlook a couple of plot holes and a time-killing romance and you have an entertaining movie which has been unfairly neglected over the years. This was included in a DVD with "Little Big Horn", which is a better picture, but nevertheless, "Rimfire" is still a cut above.

"Rimfire" is a low-budget effort from Lippert. Much of their product was forgettable, but every so often they'd come u with a good one, and this is one of them.

There are no "stars", just a good cross-section of solid, reliable character actors, and that helps a lot. James Millican was a supporting actor in a lot of westerns, but he's the lead here and does a very good job of it. Velvet-voiced Reed Hadley is The Abilene Kid, a gambler framed and hung for cheating at cards, George Cleveland is a conflicted judge, Henry Hull is a crusty newspaper editor, and the rest of the cast is comprised of a variety of familiar western faces--among them Forrest Taylor, Fuzzy Knight, John Cason and Don Harvey--who have more screen time than they usually get, and they all acquit themselves well. There are several interesting plot twists, which you don't usually find in low-rent "B" westerns, and give the film the kind of atmosphere that, again, isn't usually found in "B" westerns. This was veteran director B. Reeves Eason's final film as director--although he did do some second-unit work and directed several episodes of TV series after it--and it's a good one to go out on. Well done.

Ignored even when it was released this B western is akin to Audie Murphy's "No Name on the Bullet" as it is a different kind of western, actually a suspense/mystery in a western setting, not a horse opera at all. The cast is an ensemble of reliable character actors doing what they do.

This one is probably lost for ever, but it is an example of what can be accomplished on a starvation budget when a little creativity is applied.

IT'S THE WRITING, STUPID!

"Rimfire" is an almost forgotten little gem of a western. In fact, I hadn't heard of it until it's recent DVD release. It was produced by the Lippert Company and directed by the veteran B. Reeves Easton. Easton had been around films since 1915 and this was his final directorial effort. Running at a scant 63 minutes it boasts a fairly large cast of recognizable western players and contains an interesting story line.

Tom Harvey (James Millican) foils a stagecoach holdup and comes into town and takes a job as a deputy sheriff. Heroine Polly Jordan (Mary Beth Hughes, who was on the coach turns out to be the niece of the town sheriff Jim Jordan (Victor Kilian). Harvey confides int the sheriff that he is in fact an under cover army officer in search of some stolen government bullion. Harvey and Polly meanwhile, become attracted to each other.

Gambler, The Abilene Kid (Reed Hadley) who had also been on the coach, is falsely framed for cheating in a card game by saloon owner Barney Bernard (Ray Bennett) and his two henchmen Blazer (John Cason) and Toad (I. Stanford Jolley). Harvey believes in the Kid's innocence but is unable to prove it. In a trial Bernard and his two henchmen testify against him and Judge Gardner (George Cleveland) finds him guilty and sentences him to hang.

Following the Kid's execution, several of the Kid's accusers begin to be murdered by a ghostly figure believed by some to be the ghost of the Kid. A playing card in sequential order is found at the scene of each murder leading all to believe that the Kid is somehow involved. Finally Harvey discovers the identity of the murderer and.............

This was a rare opportunity for veteran character actor Millican to play the lead and romance the heroine. He had been around films since the early 1930s but is probably best remembered for his western roles (on both sides of the law) and for his distinctive speaking voice. His career was cut short by an early death in 1955 at the age of 45.

Others in the cast include Fuzzy Knight and Chris-Pin Martin as the comic relief, Henry Hull as newspaper editor Nathanial (Horace??) Greeley, Glenn Strange as the stagecoach driver and Margia Dean as Lolita a saloon girl.

Take a look at this one if you get the chance.

Rimfire is directed by B. Reeves Eason and jointly written by Ron Ormond, Arthur St. Claire and Frank Wisbar. It stars James Millican, Reed Hadley, Mary Beth Hughes, Henry Hull, Fuzzy Knight and Victor Killian. Music is by Walter Greene and cinematography by Ernest Miller.

Captain Tom Harvey (Millican) is an undercover army officer working in a small Texas town investigating the theft of army gold shipments. Taking on the role of a deputy, he suddenly finds the town gripped by terror as they believe the ghost of a gambler who was wrongly convicted and hanged has come back from the grave to enact revenge.

"Gold and greed, it seems, go together. And so do. So do gold and death"

Clocking in at just over an hour, Rimfire is compact and unfussily directed for maximum impact. There's a slight irk that once the central hanging and conviction enters the story, the film barely has time to unfold the mystery element, in fact so much is crammed into the final twenty minutes you really can't afford to look away. But why would you look away when the film is so interesting in narrative and so visually arresting? The biggest character in the piece is Ernest Miller's black and white photography, low-key lighting with prominent shadows, there's a pessimistic ambiance given the production, a sense that humanity is rotten. Which when coupled with the unusual aspects of the story make this very much a unique Western of the 40s.

Well performed with the likes of Hadley, Hull and Millican turning in professional shows, and with super work from photographer Miller, this rounds out as very much a Western noir worth checking out. 8/10