Rough Night in Jericho

A stagecoach bound for Jericho is ambushed by Alex Flood (Dean Martin). He's a bad man and he takes over the town with his brutal gang. He hangs the stagecoach driver for shooting one of his men in self-defense. Stagecoach owner Molly Lang (Jean Simmons) tries to save the driver but fails. She happens to be Flood's ex and he still holds a flame for her. A wounded Ben Hickman (John McIntire) and his former deputy Dolan (George Peppard) arrive in town to take partial ownership of the stagecoach line with Molly. Molly had informed Ben of her dire situation but Dolan was unaware and is unconvinced of joining her. Flood is demanding 51% of everything including the stagecoach.

It's interesting to see Dean Martin play against type. He's actually pretty good at playing evil. It's an interesting tense stand-off for the first half of the movie but I kept wondering about Dolan's plan if he had any at all. I really like Flood losing the poker hand to Dolan. It would have been even more interesting if the losing was deliberate as a way of enticing him to leave. On the other hand, I don't like the inciting incident with the deputy tearing up the stagecoach. It's too haphazard and rescuing a damsel is too bland. A better inciting incident would be killing Ben. That would lead to Dolan going on a revenge war against Flood and that would be a better movie. Once Dolan killed a deputy, Flood would have hung him without a trial. That section do not make sense. It's not until the saloon shootout that the movie finds its violence. It's a long time coming and about thirty minutes late. The shooting is still a little old fashion but at least, there is plenty of it.

An ex-lawman from Santa Fe and his ex-deputy (John McIntire and George Peppard) come to an Arizona town to assist the female owner of a stagecoach line (Jean Simmons), who happens to be persecuted by the town's venal mogul, also an ex-lawman (Dean Martin). Since the odds are against winning a tangle with this boss, Dolan (Peppard) is determined to move on. Is he yella or will he make a stand?

"Rough Night in Jericho" (1967) comes in the spirit of "Rio Bravo" and "El Dorado," just minus John Wayne. It's mostly town-bound, but there are more than enough scenic sequences shot in the Southwest wilderness (cited below). The emphasis is human interest, which effectively draws you into the lives of the characters at play.

A minor example is when a certain man is humiliated and written off as a coward, but he's later given a chance to prove his mettle. A better example is how Flood (Martin) and Dolan are fleshed out with several interesting dialogues. You just know they're gonna have a showdown.

There's also a great knock-down-drag-out fight between Dolan and Yarbrough (Slim Pickens). Impressive Steve Sandor plays a side character in this particular sequence as Flood's henchman Simms; the role happened to be his cinematic debut.

Regrettably, the ending needed tightened up and the flick is strapped with a professional-but-unfitting score that's unmemorable. It needed a composition along the lines of, say, "Bandolero!" or "Duel at Diablo." Yet this isn't a deal-breaker and arguably adds a unique charm to the film. In any case, it's superior to Martin's "5 Card Stud," but not quite on the level of his "Bandolero!"

It runs 1 hour, 44 minutes, and was shot in Old Tucson, Arizona, with out-of-town stuff done in southern Utah at Glen Canyon, Kanab Canyon, Paria and the Gap, as well as Vermilion Cliffs and Colorado City in nearby Arizona.

GRADE: B.

Off beat casting of Dean Martin as the town tyrant who, among other things wants the stagecoach line that his former lover, Jean Simmons, currently owns. In steps George Peppard, playing a former deputy, who comes to town and eventually gets caught up in things when his better sense tells him that he shouldn't stay. Simmons plays a hand in this. Slim Pickens, who usually played good guys, played one of Matin's henchmen. The film gets rather violent--especially the fight scene between Peppard and Pickens-which begins with Pickens using a whip. Acting was quite good. I liked Don Galloway and John McIntyre in supporting roles. It was a bit of a stretch to believe Martin as a total villain--but he pulled it off quite well

Normally I love westerns, and I am willing to accept some flaws in them, but I found this particular western a chore to sit through. The lead performances, for one thing, hurt the movie. Now, I am not saying that Peppard and Martin were miscast, but they were not directed well here. Peppard seems out of place, while Martin does not come across as ruthless enough to be believable as a villain.

But what really hurts the movie is the script. The mix between comic sequences and brutal action do not fit together very well. Also, the first half of the movie is almost all talk talk talk, and not very interesting talk. And Peppard's character doesn't do anything in that first half to try and change the desperate situation. Things do pick up somewhat in the last part of the second half, but it's too little too late.

By the way, Leonard Maltin's video guide branded this movie as "gory", but by today's standards it's not very bloody.

Dean Martin owns 51% of everything in town, except former lover Jean Simmons' stage line. When he and his hired guns start squeezing her, she writes former marshal John McIntire. He shows up, but remains abed while George Peppard scouts out the situation.

This metaphorical western about the corruption of society by business interests makes use of symbolic values of B westerns, and balances the traditional B Western values of action with some decent speeches, with Dean Martin playing the darker edge of his screen persona in the midst of his Matt Helm era. Miss Simmons also gives a fine performance that reinvigorated her career. She and Peppard have a great drinking scene. Yet there are issues with this movie that are disturbing, both in the way that the film makers seem to have forgotten how to make a western -- the score by Don Costa is overly dramatic in a TV-Western manner that makes it seem that the events are less important than they should be within the movie, and cinematographer Russell Metty shoots the action sequences with a zoomed-in telephoto lens that makes those passages weightless.

The net impact is that the film makers feel the movie is simultaneously more important and less important than it is. Perhaps the only way to get this film made was to populate it with major talent in front of the camera. Certainly the actors take the subtext seriously. It's too bad the people behind the camera overburdened a good story with unnecessary technique, making this an interesting and watchable western, but little more.