Fort Worth

Randolph Scott plays a pacifist who has given up the gun for the pen – or the printing press – and he's not entirely convincing, perhaps simply because we're so used to seeing him blazing away at the bad guys in the seemingly endless succession of Westerns he made in the 1940s and 50s. He returns to Fort Worth with his business partner to start up a local newspaper with the prime objective of ridding the dying town of slimy bad guy Clavenger (Ray Teal) who is riding roughshod over the place and driving away the peace-loving residents. Scott's character also re-unites with Blair Lunsford, one of film history's more ambiguous villains in the reassuringly swaggering form of David Brian. Lunsford is capitalising on Clavenger's terrorising of the locals by buying their property cheap when they decide to move out.

The story is fairly unusual and not without interest, but it's Brian's character who leaves the most lasting impression. Is he a bad guy, or just an ambitious man making the most of the misery of others without actually contributing to that misery? The film never really tells us, and doesn't really seem able to make up its mind. He genuinely likes Scott's ramrod-straight good guy, and only turns when he finds himself backed into a corner. Anyway, despite its rather unique storyline, the film's conclusion is fairly predictable.

With Warner Brothers having done a western entitled Dallas a year earlier with Gary Cooper it only seemed right that it produce another western with the title of that other Texas twin city, Fort Worth. Starring in this one is Randolph Scott and directing it is Edwin L. Marin who collaborated with Scott on a few other previous films. This was Marin's last film as a director. Not a noteworthy stylist, Marin nevertheless was able to do a competent and entertaining product.

Scott's in a strange occupation for him in a western, he's a newspaper editor, a partner with Emerson Treacy with Dick Jones working for them. They're picking up stakes and going to Texas and decide to settle in the city of Fort Worth which is having problems with a lawless element led by cattle trail boss Ray Teal. An old friend of Scott's, David Brian is the big mover and shaker in Fort Worth and he'd like to see a railroad come through and a meat packing plant right in the town like Chicago. That would eliminate folks like Teal and he's not about to see that happen.

Scott has an interesting character, he's become pacifistic after war service and thinks that the power of the pen will do more than the six gun. But when law and order breaks down Randy straps on the six guns like Jimmy Stewart in Destry Rides Again to restore it as surely as Stewart did in Bottleneck.

Brian though has a strange character, even after the end of the film you don't know quite what to make of him. He says he wants law and order, but tolerates an ineffectual sheriff in Chubby Johnson and allows Teal to run roughshod. Many in the cast want to know just what is his game and in the end we never really find out. Makes for an interesting piece of cinema.

Fort Worth is an interesting western with far more plot than most of these six gun shoot 'em ups have. It is one of Randolph Scott's best westerns from the Fifties, you'll become a fan of Randolph Scott after seeing Fort Worth.

Out of Warner Bros, Fort Worth is directed by Edwin L. Marin and written by John Twist. It stars Randolph Scott, David Brian, Phyllis Thaxter, Helena Carter, Dickie Jones & Ray Teal. A Technicolor production, the exteriors are shot on location at Iverson Ranch, Chatsworth, Los Angeles & Warner Ranch, Calabasas, California. Photography is by Sidney Hickox & David Buttolph scores the music.

Former gunfighter Ned Britt (Scott) sets up shop as a newspaper printer in Fort Worth, Texas. But he may have to come out of gunman retirement since a gang of outlaws are intent on running things their way. Not only that but Ned is falling for Flora Talbot (Thaxter), the fiancée of a former friend, Blair Lunsford (Brian).

This was actually Edwin L. Marin's last film before he would sadly pass away the same year. No more than a jobber director, he was, however, very capable in crafting a Western story; particularly when Scott was his leading man. Such is the case here. On first glance the plot has that familiar and unadventurous look to it. Hell, sometimes all we want from our 50s B grade Westerns is Randy Scott taking up arms and slaying some ruffians. Yet Twists' story throws up a number of interesting points of worth, notably the core weapon in the narrative of the pen being mightier than the sword (or 6 shooter in this instance). It also launches itself from an attention grabbing tragedy, from which Scott's character really has to take stock of things once he gets in town.

True enough to say this is more talky and character forming than the many "yeehaw" histrionic based Western B's from the 50s. But this does have enough adrenalin boosting scenes to see off any charge of it being mundane. Train robberies, a stampede, shoot outs and plenty of shifty stalkings put in an appearance. While it also has some extremely cool moments to digest: a switch gun manoeuvre between Scott & Brian is cheekily great; and the sight of Scott finally strapping on his pearl handled guns is akin to Clark Kent donning the red underpants and cape. Seriously. Technically there's some stock footage that only itches rather than hinders (if you have seen Dodge City it's déjà vu), but by and large this is a gorgeous production; one that's got a tremendous transfer on to DVD.

Attention to detail in its narrative and smartly acted by the principals, Fort Worth is well worth the time of the discerning Western fan. 7/10

Fort Worth is a well turned out Technicolor Western that packs a full load of action, colorful dialog, robust character studies, and engaging plot twists into 80 minutes of running time. The formidable entertainment value of this unpretentious B-plus oater gets a considerable boost from the charismatic screen presence of second lead David Brian. Tall, brawny, and blond, the steely-eyed, gravel-voiced Brian dominated virtually every picture he was in, and this one is no exception. Michael Curtiz once said that Randolph Scott was the only gentleman he had ever known in the movie business. It is to be hoped that top-billed Scott was a good sport during the filming of Ft. Worth, because Brian almost completely stole the spotlight as the swaggering empire builder who is the old friend, sometimes adversary, sometimes ally of crusading newspaperman Scott. The screen seems to simply come alive every time Brian steps in front of the camera. The dynamic Brian was the perfect foil for the mild-mannered Scott, and their alternately tense, cordial interaction is the great asset of this picture.

But not the only one. A fine supporting cast is led by Ray Teal, as a smirking villain, and Phillis Thaxter, the wholesome love interest over whose affections Scott and Brian inevitably clash. Cinematography in gorgeous three-strip Technicolor by Sid Hickox, sets, and costumes all have a first rate look. John Twist's original screenplay is complex and intelligent. His colorful dialog is disarmingly amusing as his characters spout such rustic metaphors as, "You've knocked a hole in my fence all right, but you may tear your britches if you jump through it too quick!" and "Don't swing on the gate too long, or you may get a belly full of horns!" Edwin L. Marin's direction is tight and on target with nary a camera shot wasted. Marin made a career of turning out medium budget pictures, equally at home with Philo Vance mystery thrillers or Ann Sothern's light comedies. He turned to Westerns, for which he seemed to have a special touch, late in his career, beginning with John Wyane favorite Tall In The Saddle (1944). Two years later he directed Randolph Scott for the first time in the tough, "noirish" Western Abilene Town (1946), followed by a half-dozen more collaborations in the late 'forties and early fifties. Scott seemed at his best under Marin's guidance. Unfortnately Marin died suddenly in May 1951 after Fort Worth had been filmed but before its release.

For my money Fort Worth, along with Abilene Town, is one of Scott's best Westerns, fast-paced, action-packed, dramatically engaging, beautifully filmed, entertaining from beginning to end. Not a classic, but a good one from the waning days of Old Hollywood's Golden Era.

Fort Worth is fast-moving, well cast, well acted, and well executed all the way around. Scott actually has two different mentors, one Phyllis Thaxter's late father and the other a high-minded newspaperman who is knifed by a thug. He uses both of them to build and transition his character in a more layered performance than typical of the normally stoic Scott. Thaxter is terrific in every scene she's in, but better still is Brian as the magnate who persuades former boyhood friend Scott to stay in Fort Worth. He is part-villain and part-hero and extremely interesting and credible throughout. The plot is atypically complex with many threads all woven together well and wrapped up in a satisfying manner. Dick Moore (former child actor Dickie) is terrific as Scott's newspaperman who helps Scott keep alive the spirit of Ben, their mentor publisher. The thugs are all convincingly ruthless and interesting, including Ray Teal as the leader, supported by Bob Steele, Paul Picerni, and Michael TOlan among others. The color cinematography and production values are also first-rate and the pacing is perfect.

If you enjoy Randolph Scott westerns, don't miss this superior entry.