Good Day for a Hanging

Of course this is a 1950s period piece that says more about that time period than it does about the 19th Century, but we need to remember that most films, particularly Westerns, seemed to reflect the exact time period they were made. This is nothing new, and it probably will not change any time in the future.

What audiences forget is that Fred MacMurray was GREAT in serious roles. Because we saw him on TV and Disney movies, we became used to the dimwitted, milquetoast type of character and I, at least could not understand why he was so respected as an actor. But, he had a long illustrious career long before the 1960s, and that career had mostly been of him as a leading man in Westerns. In fact, MacMurray was disappointed that all he ever got cast in was serious roles, and he got tired of it.

In this movie, his acting is so "underdone", that it is flawless. I have a great deal of respect for him, and wish he had made even more serious movies later in his life.

On a peaceful day in a small western town in Nebraska in 1878, a bank robbery occurs and Marshal Emile Meyer is killed pursuing the gang. But citizen Fred MacMurray, a former marshal, kills one of the gang and wounds the one who he saw shoot Meyer.

It was Robert Vaughn a young kid who was a former resident of the town who left some years earlier. It's now obvious what he took up doing after he left. MacMurray's daughter Joan Blackman is kind of fond of Vaughn even though she's been keeping company with the young town doctor, James Drury.

Good Day For Hanging has some good intentions and other reviewers have faulted for having the cast speak in modern idiom. That's not the film's problems, it's trying to graft a 20th century urban plot on a 19th century rural western situation.

Try as I may, I can't believe that these frontier townspeople are so squeamish about hanging this punk. Even as Vaughn claims, he did not do the actual shooting of Meyer, he's as guilty of the murder of this peace officer whether he pulled the trigger or not. The attitude expressed in such films as True Grit and Hang 'Em High is far more typical of the times than Good Day For A Hanging.

Of course in all this MacMurray is called to put on badge again and it's his testimony that actually convicts Vaughn. Still public opinion gradually turns against him for what I can see, no discernible reason. The controversy puts a strain on his relationship with Blackman as well as with fiancé Margaret Hayes.

Best performances in the supporting cast are from Edmon Ryan who plays more of a modern defense lawyer in this western. Still he does do a fine job. And I particularly liked Kathryn Card as Meyer's widow. Her scenes count and you will remember her performance over everyone else's in Good Day For A Hanging.

Fred MacMurray was not overly fond of westerns. In his salad days with Paramount he only did one, The Texas Rangers and during the fifties he did a few of them before becoming a Disney star. His famous quote was that he never felt at one with the horse'. His riding scenes were probably doubled, but in the scenes in town MacMurray acquits himself admirably.

But this one in the last analysis was an eastern/western.

It's hard to say enough good things about this script. "Good Day For a Hanging" as about a man who tries to warn a town that makes him sheriff when their sheriff is killed during a robbery that if he starts to do his job he will see it through. He was once a robber with the same gang years since, and the sheriff helped him to go straight. They do not believe him; even his daughter turns against him to side with her ex-boy friend, who swears he innocent but was identified by the man as a murderer whose deed was seen with his own eyes. The young man is ordered hanged, and the sheriff stands his grounds, and is vindicated. To this very strong storyline are added many townspeople on both sides of the argument, mostly against the sheriff, played with honesty by Fred MacMurray. The leader of his opponents is played by Edmon Ryan, the sheriff's wife played by fine actress Maggie Hayes and the boy played by Robert Vaughn. The production values are the best of MacMarray's three major westerns, with script by Daniel Ullman, John Reese and Maurice Zimm, taut direction by the great Nathan Juran and cinematography b y Henry Freulich which looks very well. Among the others in the large cast are many familiar actors of quality, including Denver Pyle, Joan Blackman, Kathryn Card, Wendell Homes, Stacey Harris, James Drury, Bing Russell, Russell Thorsen and Howard McNear. There is one good scene after another in this remarkably dramatic and entertaining script; MacMurray is all right but the part could have benefited from a performance by someone with a stronger theatrically-trained voice. The slow build of resentment against the sheriff whose stubbornness may bring the gang down on the town again sets up a grand climactic confrontation and a satisfying ending, vindicating the Sheriff's judgment. A nearly-great western.

Pretty good town-bound western. Stolid Ben Cutler (MacMurray) gets promoted to marshal after predecessor is killed in a bank robbery. Trouble is kid (Vaughn), who looks like he shot the marshal, is old boyfriend of Cutler's daughter (Blackman). Now the marshal has to decide whether there should be leniency for the kid or not, since the town's people have decided there's not enough evidence. I get the feeling a popular youth theme of the 50's is being recycled. That is, should the good girl follow her heart and go with the hell-bent boy, or go with her upbringing and the wholesome youth who goes with it (Drury). This deepens the plot since it may mean dad Cutler has personal reasons for executing the heck-bent kid.

Except for a posse chase across scenic desert terrain, action is confined to the town and courtroom. Fortunately, the screenplay mostly compensates. Then too, MacMurray is one of Hollywood's most underrated actors. Here, he has on his grimly determined face, and delivers a convincing turn. Robert Vaughn also scores as the weakly dangerous Eddie, with an appropriate array of twitchy expressions. And catch that supporting cast, a near who's-who of 50's performers. I just wish ones like the scary Stacy Harris got more screen time. Nonetheless, it's good to see ace veterans like Wendell Holmes and Edmond Ryan pick up a featured payday. Of course, the girls look like they just stepped out of a beauty spa, something 50's oaters could not seem to avoid. Dirty up the guys, sure, but never the women.

Overall, it's a decent western with some suspense, a badly staged fist-fight, and an ironic climax. But nothing exceptional among the many oaters that filled the 50's big screen.

Good Day for a Hanging is directed by Nathan Juran and adapted to screenplay by Daniel B. Ullman and Maurice Zimm from the story The Reluctant Hangman written by John H. Reese. It stars Fred MacMurray, Robert Vaughn, Joan Blackman, Margaret Hayes, James Dury and Wendell Holmes. It is filmed in Columbia Color with cinematography by Henry Freulich.

After claiming his daughter's childhood sweetheart killed the marshal of Springdale during the aftermath of a bank raid, the new marshal, Ben Cutler (MacMurray), finds himself in conflict with his family and the townsfolk who question the motives of his testimony.

Good Day for a Hanging is one of those films that you feel that with a few tweaks it could have been a bona fide great 50s Western. As it is, in spite of some viable complaints from those who have bothered to review it, it's still a hugely enjoyable broody Oater.

Film hinges on MacMurray's moody and stoic performance. Ben Cutler finds himself fighting a lone battle in getting outlaw Eddie "Kid" Campbell (Vaughn excellent) on to the gallows. Campbell's standing in the town is high, he's fondly remembered and after laying on a truly heartfelt plea of innocence during the trial, practically everyone is convinced that he is innocent, even the members of the Cutler posse who were there when Campbell gunned down the old marshal! And with those closest to Ben also firmly against him hanging Campbell, he is being pulled apart emotionally. It's a nicely etched turn from MacMurray, full of inner torment and believable bravado.

Juran constructs some very good passages in the story, the opening robbery is very tense, the court case deftly handled with its observations of how manipulation of the law can happen, and the building of the gallows outside Campbell's cell - and the subsequent morbid interest of the townsfolk - really puts an edge on proceedings. Unfortunately the final outcome to the excellent mood building is undone by an unconvincing turn of events, and it feels very rushed. It's a shame because it just needed someone to step forward and suggest changing the ending from that of the source material. You have to think that the likes of Boetticher and Mann would have put a different spin on it.

Still, and I note and agree that some of the dialogue is out of time for the era, this is way above being an average B Western. At the time Variety wrote in their notices that the colour wasn't right for the tone of the picture. To some degree I agree that shadowy black and white would have worked a treat, but in this High Def age you can really see the benefits of Freulich's photography, it's beautiful, but I viewed it from UK TCM HD Channel, which invariably means I'm seeing it different to those in 1959!

I fully endorse this to Western fans who haven't seen it, and especially to MacMurray and Vaughn fans. It has problems, and yes it's kinda like a poor man's version of High Noon - Ruth (Ben's love interest played by Hayes), even suggests that Ben throw his marshal badge in the dirt - yet it's a mature throwback well worthy of viewing investment. 7/10