Le colline bruciano

Two young lovers flee a murderous rancher's posse.

In 1956, Warner Bros. paired up two of their most promising young contract players in this movie and one other, The Girl He Left Behind. Unfortunately for the studio, neither film caught fire. Hunter certainly had the All-American good looks but in the acting department was no James Dean, while Wood's struggle here with a Mexican accent amounts to little more than an honest effort.

Wisely, the studio stacked the dialog with a veteran supporting cast—Akins, Franzen, and Teal —who carry most of the lines. At the same time, was there ever a better nasty young punk than the great Skip Homeier, who could hold his own with any heavyweight actor. Also, it's too bad the young Earl Holliman didn't have matinée good looks because he could have injected real feeling into Trace's pivotal part.

The cast itself gets to ride around greater LA in a generally non-scenic Technicolor Western. However, the showpiece brawl over the big rocks and into the roaring river is a real doozy. Hunter certainly earned his salary with that one. Then too, Franzen's Indian tracker is nicely conceived and adds a good ironical touch to the fairly predictable outcome.

All in all, the movie amounts to little more than a minor vehicle for two of the studio's attractive young stars. The talented Wood, at least, would go on to bigger and better things.

Both Tab Hunter and Skip Homeier put in excellent performances in this film. Both are well-cast for the roles they play - Tab, the "good guy" and Skip, the "bad, ruthless killer." The final fight scene between Tab Hunter and Skip Homeier is one of the best I have seen staged in a western. The final outcome was in no way predictable. The movie stands up well after 40 years.

Bubblegum western marketed at the time as if it were "Rebel Without a Cause" on the range (one of the tag lines read: "People would say, 'But they're only kids!'"). Half-breed girl (Natalie Wood, heavily pancaked and miscast, but still not bad) shelters a cowboy (Tab Hunter) embroiled in a vengeful feud with a scurrilous gang. Good, trashy fun; supporting cast including Earl Holliman and Claude Akins is solid, direction by Stuart Heisler fast-paced. The screenplay adaptation (by Irving Wallace, of all people) slants Louis L'Amour's story in favor of showcasing the teen heartthrobs of the day, but it has good action scenes and a satisfying wrap-up. **1/2 from ****

Louis L'Amour wrote well-structured western stories that were very entertaining. Usually, there's a hero who never goes out of his way to hurt anyone. And the force(s) of villainy are clearly defined. But Hollywood wanted to pair Natalie Wood and Tab Hunter, so the love story in this film includes some amorous un-L'Amourous scenes to cater to young viewers.

The first couple of scenes establish who our hero is (Tab Hunter as Trace Jordan) and how bad the villains are. Natalie plays Maria, a strong-willed young woman who is also victimized by the gang of gunslingers who enforce the evil dictates of one Joe Sutton (Ray Teal). After Trace attempts to bring the bad guys to justice, they chase him over the countryside. Maria tries to help him.

Members of the gang include Claude Akins, who also appeared in "The Sea Chase" with Tab Hunter in 1955. One of the orneriest gang members is played by Earl Holliman. After this film, he would appear consecutively in "Giant", "The Rainmaker" and "Gunfight at the O.K. Corral". Talk about being in the right places at the right time.

Unfortunately, certain scenes are marred by some very corny lines. The result is a great L'Amour story burdened by Hollywood "enhancements". You can judge for yourself if Natalie Wood's accent is horrible or not. She surely took a lot of criticism for Maria's accent in "West Side Story", which would follow in five years.

Louis L'Amour novels make good reading and fine western cinema and The Burning Hills is no exception. Tab Hunter and Natalie Wood who were a screen team and studio public relations created off screen romance star in this film which has Tab Hunter on the run and Natalie Wood helping him.

Hunter's got plenty of reason to run, his brother was killed and he shoots Ray Teal who is the overlord of the local Ponderosa. The wounded Teal who really doesn't have title to a lot of the land he runs roughshod over and he sends his rotten son Skip Homeier and foreman Claude Akins with some of his riders after him. At no time are they a legally constituted posse and Homeier and Akins can't stand each other and have many issues between them.

Skip Homeier ever since he shot Gregory Peck in the back in The Gunfighter made a good career of playing some really nasty punk villains and he's certainly at his nastiest here. Eduard Franz has a strange and interesting part also as a mixed race tracker that Akins insists on having in the posse. He's a person of interesting and shifting loyalties.

Wood and Hunter were certainly an attractive pair and the teens and Tweens in the audience got some thrills as Hunter had to appear topless as Wood nursed him with his injuries. The Burning Hills has a lot of tension in it as the posse closes in and Hunter is a pretty resourceful man. Wood has a few tricks of her own to baffle the posse and not all of them involve sex.

The Burning Hills is a nicely constructed western that I'm sure Louis L'Amour took some pride in the screen version of his work.