Fury at Showdown

Excellent collaboration between Oscar-winning cinematographer Joseph LaShelle and competent director Gerd Oswald tip the scales on the plus side for this B+ western. The big old Columbia western town set never looked more authentic. Dig the dogs harassing the stagecoach horses. The tracking shots and camera set-ups are all A picture quality. Note the use of the extras. Not the usual aimless wandering, but natural and with attitude. We often see the action from their point of view. Good stuff. The story needs it because their ostracizing of the young hero strains credulity. John Derek is a misunderstood hothead who wants to cool off but they won't let him. Very 50s. He and Nick Adams are very good and quite believable as brothers. The action (aka violence) is unpredictable, well-staged and bloody. The good musical score, played mainly by a lonesome harmonica and guitar, is by another Oscar winner, Harry Sukman. Was the last shot a happy accident or planned? It works.

Looks like much of the movie was turned over to a John Derek uplift, his once promising career then in decline. He may get the screentime, but an unusually meek and mild Nick Adams almost steals the flick with his sympathetic portrayal as Derek's loving brother. I gather (Trivia) the western was shot in just five days, and frankly, the congested narrative and crowded cast show a hurry-up schedule. The various storyline threads are hard to figure out, while the number of supporting cast members drift in and out in hard-to-follow fashion.

Nonetheless, the rivalry thread between Derek and gunslinger Adams is well-done, especially Adams' unusual verbal abuse of the oddly silent Derek. How this will resolve amounts to the flick's main suspense. There're also good touches from director Ulmer, such as realistically keeping the brawlers' bruises for the narrative's remainder, or dragging the brawlers away beneath a galloping stagecoach, et al.

All in all, I get the feeling that a much better Western could emerge from the clotted ingredients if more time were afforded to preparation, especially in better organizing the screenplay''s unusual elements - for example, heightening the critical business papers suspense, or what will happen to Adams's vulnerable character. What survives is a promising flick that needs a more accommodating remake. So anyway, here's hoping.

Fury at Showdown is directed by Gerd Oswald and adapted to screenplay by Jason James from the novel Showdown Creek written by Lucas Todd. It stars John Derek, John Smith, Carolyn Craig, Nick Adams, Gage Clarke and Robert Griffin. Music is by Harry Sukman and cinematography by Joseph LaShelle.

After killing a man in self defence, reformed gunfighter Brock Mitchell (Derek) finds that the brother of the man he killed is intent on evening the score.

It's a tried and tested formula here, that of a one time gunman trying to reform but finds others simply will not let him. There's a love interest tantalisingly in the balance, some brotherly love playing a key part in the story, a bit of angst, fisticuffs (including a superb saloon brawl) and machismo, and a well constructed finale. Oswald has skills with the camera, nice shots and an ability to ensure each frame has something to offer, his work really belying the quickfire turnaround for release he was tasked with.

Elsewhere, Lashelle's monochrome photography is lush, seen at its best with the TCM-HD print doing the rounds on cable networks. Also appealing is Sukman's musical score, very subtle and stripped back to be a nice tonal accompaniment. Acting is in the main decent, with Derek a likeable presence in the lead, to leave us with a good sturdy Oater where Fury at Showdown manages to overcome its small budget and isolated location setting to hold its head up high. 7/10

This is not a major western, this is not a Delmer Daves, John Ford or Anthony Mann's western, it will not stay in memories. It's just a seventy five minutes film, without much ambition, except bringing something unusual, moving, as the Budd Boetticher's western films series was during the same period. Not big budget yarns, but still riveting because of the characters study, not necessarily the gunfights. The two brothers relationship is really the must see of this Gerd Oswald's movie. Not ambitious at first sight, but, I repeat, really worth. Try it, just try, and I am sure you won't regret it. And It's rare too.

Looks like I stand alone in my review of this western. Whatever great cinematography or acting the movie might have was --for me-- not noticed or drowned out by the boring, trite story. I can't believe this movie got a 6.8 user rating. One of the most boring, talkative (and repetitive) westerns I have ever seen. Little action, and the most ridiculous, abrupt, meaningless fade-out to a movie I have ever seen. I had to strain myself to see it to the end. Even the title is trite. The only thing going for it was John Derek's handsome countenance.

To make ten lines for an acceptable review here, let me add this silly scene which typifies the movie for me. Derek rides out of town to talk to his estranged girlfriend, who he hasn't seen while in prison for a year, and immediately encounters her taking a nude swim. So they talk -- he on his horse and she completely covered by the dark water (save her head and shoulder tops). That's it; no comment by the characters on this awkward scene. ... ... ... Another situation that irked me is that time is running out, and three partners expect a businessman to arrive by stage to complete their crucial deal, but he doesn't show, and two of the partners won't let the third one ride to the town where the businessman is to learn the reason for the delay. It was so important that you'd think they would have thought of the obvious: send a neutral trusted person to make the trip to find out.