La pistola sepolta

Enjoyed this film mainly because I like Broderick Crawford, (Vinnie Harold) who was too old and too fat to be the fastest gun in this film and a great young star Glenn Ford, (George Temple) who had dark deep secrets to hid in the small town of Cross Creek. George Temple was married to Dora Temple, (Jeanne Crain) who had to suffer with her husband's past and they finally decided to locate in a new town to live in and they were store owners. However, George had a real bad habit of loving guns and also being an expert sharp shooter. Vinnie Harold went from town to town looking for the fastest gun and killed everyone that he came across who thought he could out draw him in a good old Western duel in the street of some town. Jeanne Crain gave a great supporting role and looked very young and pretty along with a very handsome looking Glenn Ford. This is a good classic 1956 black and white film, but is very entertaining.

Glenn Ford plays a storekeeper whose friends and neighbors think of him as a wimp. Finally he has enough and decides to show them how good he is with a gun, which doesn't make wife Jeanne Crain too happy. Then gunslinger Broderick Crawford comes to town. He's obsessed with being the fastest gun alive. I know what you're thinking. You're thinking nobody says anything to Crawford about Ford's ability with a gun, he leaves town without incident, and the movie ends abruptly. Well, you're wrong.

This is a very good western that has what I feel to be Glenn Ford's finest acting work. His agitated and conflicted performance is unlike anything he had done up to that point. Crawford is a mixed bag here. His acting is spot-on but he seems physically wrong for the part. An overweight 45 year-old is hardly the image that springs to mind when one thinks of a headstrong gunslinger that needs badly to prove he's the best. Perhaps someone younger and leaner would have been better. John Dehner, who played one of Crawford's cohorts, would have probably been a better fit. Still, despite my problems with his casting, Crawford gives his all and does well. Jeanne Crain does fine also. Russ Tamblyn has a somewhat out of place dance number but it's still enjoyable to watch. Overall, it's a solid western. Not at the top of my list of favorites but a good one nonetheless. Ford's bravura performance alone would be worth recommending it.

Glenn Ford gives one of the best performances of his career as George Temple, a quiet, softly-spoken man who is hiding a secret that is slowly tearing him - and his marriage - apart. The screenplay, co-written by Frank Gilroy and director Russell Rouse, tends to spoon feed the audience it's psychology, but it also unfolds in measured doses that slowly ratchet up the tension to good effect. A musical number by Russ Tamblyn is a major misstep which is there for no other reason than to provide a new young talent with some exposure. It certainly adds nothing to the plot.

Directed with poise and aplomb by Russell Rouse (an illustrious unknown to me), with very good B&W photography, and terrific performances by Glenn Ford, Broderick Crawford and John Dehner, what I particularly like about this movie is its script (apart from a dancing number featuring Russ Tamblyn that has no connection whatsoever with anything else in the film).

THE FASTEST GUN ALIVE is built upon an unusual premise: Crawford wants at all costs to be the fastest gun alive, but Ford knows he is it - even though he has not killed a man yet.

The sequence in the church where people initially do not want Ford to go out and meet Crawford because they value his life, then want him to do it because Crawford orders the town's shops doused with kerosene, comes across as remarkably human and true.

There are sound moral values to this film, excellent cinematography, and believable characters. 8/10

The Fastest Gun Alive is directed by Russell Rouse and is adapted by Rouse and Frank D. Gilroy from a Gilroy story titled The Last Notch. It stars Glenn Ford, Jeanne Crain, Broderick Crawford, Russ Tamblyn, Allyn Joslyn, Leif Erickson, John Dehner and Noah Beery Junior. A black and white production out of MGM, it's photographed by George J. Folsey and features music by André Previn.

The town of Cross Creek is home to a very mild man named George Temple (Ford), there he runs the local store and lives in peaceful harmony with his wife Dora (Crain). Then one day the town hears news of how outlaw Vinnie Harold (Crawford) has gunned down Clint Fallon, the once thought of fastest gunman alive. It's not long before the talk of other fast guns dominates discussion, with George becoming increasingly agitated at how the town people view him as meek and mild. With his pride hurt, George sets about dispelling some myths about fast gunmen and his own current persona. With that comes trouble, big trouble for everyone in Cross Creek when Vinnie Harold rolls into town.

By the time of The Fastest Gun Alive's release, the psychological Western was in full flow. Anthony Mann had blazed the trail with his genre defining run of Western's that he made with James Stewart, the last of which would be in 1955 with The Man From Laramie. From there the torch would be picked up with some aplomb by the pairing of Budd Boetticher and Randolph Scott, who began with Seven Men From Now in this same year as The Fastest Gun Alive. Away from those genre legends, many directors were turning their hands to more adult/serious Western's, some successful, some not so and some which have been forgotten, rightly or wrongly, for various reasons, when the subject of psychological Western's arises. Probably on account of it's lower tier director, The Fastest Gun Alive is the latter.

The title actually doesn't help the film, it immediately conjures up images of a man creating death with his whippy pistols. Suffice to say it isn't that sort of film, and those that have previously been lured in by the title, have no doubt felt a little short changed. Rouse's movie is more concerned with mood and the psychology of the principal players in Gilroy's story. Both Ford and Crawford's characters are driven by motives, that although different, inevitably means a collision is unavoidable. But the story isn't just about these two men, it takes time to involve loved ones and the people of the town, all are involved and as it turns out, all are key elements as to why the film is a character driven little gem. While what action there is is competently handled by the director, notably the finale that also comes with an unbearable precursor of tension.

What problems there are in the picture are thankfully only minor. Crawford is just a touch too much one note, but such is his hulking frame he looks the part of a brutish bully and he gets away with it. Tamblyn is seriously out of place, almost as much as his dance number is! It's skillful and delightful: if only it were in the right movie. For it shifts the tone of the film downwards and you have to wonder who made the ridiculous decision to include it in the film. But away from those issues it's all good. Crain looks stunning and plays emotive worry with ease, while Dehner does a nice line in shifty side-kick. But it's Ford who takes the honours, either playing it as a tortured soul who's emotionally conflicted, or as a man who is genuinely scared, Ford convinces and draws the audience into the unfolding drama.

Forget any notion of a stereotype suggested by the film's title and enjoy the atypical way in which the movie deals with its characters. This is a good un, very much so. 8/10