Proiettile in canna

An Accused Murderer Escaping Flawed Justice, a Tin-Badge with a One-Track-Mind (bringing in the killer of his brother), a Lovely, Sophisticated Virgin in Isolation with Her Father in a Cabin Far-Away from Crime, Corruption, and Humanities Sins.

The Cabin and the Surrounds are the Only Setting where Jean Simmons, Rory Calhoun, and Steve McNally are Forced by a Downed Aircraft to Lodge, Wait-Out a Passage-Wrecking Storm, and the Sparks, Well-Known to the Well-Read, begin Subtle but Escalate in a Pre-Determined Cadence Until the Soul-Searching, Romance, and Revenge Stop and All is Sorted Out by the Steady, Philosophizing Hand of the Father/Professor Returning from a Short-Trip.

All is Tied Oh-So-Neatly in a Bow for the Easily Entertained Emerging Ultra-Conservative Citizens of the War-Winner America Passively Led to Pasteur, like Simmon's Herd of Sheep.

Doubting there were Many Interesting Conversations in the Lobby about the Film's Combination of the Preconditioning Dialog Amidst a Raging Romance Kindled by Calhoun's Rough-Neck Merging with Simmons Button-Downed Persona. An Oil and Water Mix of Intellectual Grounding and Sheep-Herder Practicality.

It's All Rather Rote and Handled Unremarkable by Director John Farrow. Solid No-Nonsense Characters Delivered by A-List Actors. The High-Lights are Jean Simmons Stunning Beauty Packed in Blue-Jeans, the also Stunning Technicolor Cinematography, The Low-Light is DimitrI Tiomkin's Intrusive, Relentless Score that Never Stops for a Breather.

John Farrow's Directorial Career, with a Wide-Range of Competency and a Few Real-Gems was Winding Down and this isn't One-of-His-Best, but is Held-Together with Solid Framing, an Occasional Interest, and Not-Much in the Way of Something New, it's All a Rather Old-Hat Easy-as-You-Go Post-War Sedative.

Worth a Watch.

What a waste of Jean Simmons. This silly little western about an escaped con played by Rory Calhoun and a sheltered young woman played by Jean Simmons has so many false notes, that it is a cacophony of silliness.

We are supposed to believe the cop is the bad guy (and he Is), and that Calhoun is a misunderstoon escaped con who is actually the protagonist (which he is). And of course, we already know that Simmons is supposed to fall for Calhoun. The plot is about as predicable as Spring arriving after Winter. There really is no suspense or twists; the movie just sits there like chocolate that's been left out in the sun too long. It looks good, but if you try to eat it, you will get sick. The same holds true for viewers of this film.

A very interesting, intimate film that takes place entirely on a farm in a remote wilderness, which surely kept production budget considerations modest. The opening of the film was a bit weird, starting with a seascape shoreline and then various evidence traces of a plane crash, and a conflict, that eventually leads to (FINALLY!) two men fighting it out in the rugged terrain, one of which escapes the other.

All of it is smothered by an overbearing and highly detailed Dmitri Tiomkin score that fills the soundtrack like thick-pile, wall-to-wall carpeting. I found myself feeling very sorry for the music copyists who had to copy out all those notes from the VERY busy and restless hand of expatriate Russian Mr. Tiomkin.

The two conflicting men meet a young woman alone in a remote farm, and romance, however improbable, eventually ensues. As well as a delicate balancing act of three-way conflict.

As it happens, Los Angeles where I live is currently being inundated by heavy rains, so the picture with all it's stormy weather was a perfect match for an evening at home. The film is a solid blend of outdoor landscape and indoor drama.

The ending seems very contrived and doesn't quite make sense, but at least it appears to be a happy one. But it is likely the worst aspect of this film. Nevertheless, "A Bullet is Waiting" definitely held my interest and the acting was quite good. Good title!

There is a very good print of this film out on DVD. It is a somewhat odd little film, a modern western, a confined setting, but it does have items of interest. There are only 4 actors in the movie and for most of it, only 3. This creates an interesting dynamic between the players. Then there is the beautiful scenic location, which is not a Hollywood "set", and is excellently photographed. The actors are very watchable, and Simmons and Calhoun make a good couple. This is a passable western, not a great one. The dialogue is okay and did not have many moments to make you wince. The story line is terrific, but there is a lack of real tension that makes the film drag at times. However, the real problem is the ending. It ends a little too pat, a little too safe, a little too Hollywood. Overall it is better than many such B films, and does manage to maintain interest throughout.

A airplane crash leaves Lawman Sheriff Munson (Stephan McNally) and Prisoner Ed Stone (Rory Calhoun) stranded on a Sheep Ranch in the modern (1954) West. Between escape attempts ED makes a play for the beautiful Cally Canham (Jean Simmons) who is holding down the ranch for her Father David (Brian Aherne). MUNSON has a personal grudge against ED, but FATHER David arrives at the close too sort things out and you expect ED and CALLY will eventually get together, nuff said.

Good scenery and interesting casting are the most worthwhile features of this film. Calhoun and McNally seem quite at home in the West, but Aherne and Simmons would seem too be by intellect and temperament more suited for a drawing room. Jean does fill out her 'jeans' quite well and is as sexy in those as any more feminine costume. She would exhibit the same assets in THE BIG COUNTRY (1958). The film is worth watching just for her.