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A year after hunting down Bill Doolin in Return of the Badmen, Randolph Scott makes a rare appearance on the wrong side of the law as the same notorious outlaw in The Doolins of Oklahoma. The writers pay only passing attantion to the facts in this solid programmer efficiently directed by Gordon Douglas, and Scott makes a hugely sympathetic hero, who is tricked back into a life of crime by his old gang after going straight with preacher's daughter Virginia Huston.

The Doolins of Oklahoma (AKA: The Great Manhunt) is directed by Gordon Douglas and written by Kenneth Garnet. It stars Randolph Scott, George Macready, Louise Albritton, John Ireland, Noah Beery Junior, Charles Kemper and Viginia Huston. Music is by George Duning and Paul Sawtell and cinematography by Charles Lawton Jr.

After the fall of the Dalton Gang, Bill Doolin (Scott) becomes head of his own gang of outlaws. But with the law in hot pursuit and his yearning to start a new life, Doolin knows he is greatly up against it.

Since it irritates many, it needs pointing out that if you are searching for a history lesson - a film full of real life fact - then look elsewhere. This is at best an interpretation of Bill Doolin the outlaw, where the makers get some things right and others not so. So just settle in for a Western movie, out to entertain with that bastion of Western, Randy Scott, up front and central.

Standard rules of 1940s/50s Westerns apply, meaning there is nothing new across the dusty plains here, outlaw wants to escape his past but circumstances refuse to let him do so. Cue moral and emotional conflict, chases, fisticuffs, shootings, robberies and macho posturing. The Doolin gang are here portrayed as lovable rogues, with main man Bill particularly exuding that fact, and it's here where the Production Code tempers the promise of something more biting in narrative thrust. The lady characters are unfortunately short changed in the writing, leaving the guys to carry the pic to safety conclusion.

At production level there is much to admire. Lawton's black and white photography is crisp and detailed, the interiors atmospherically photographed, the exteriors gorgeously showcasing the Calif locations to full effect. Stunt work (with legendary Yakima Canutt on point detail) is high grade, exciting and authenticity rolled into one. While the crowning glory comes with the stampede at pic's finale, exhilarating is not overstating it. Cast can't be faulted, the ever watchable Scott surrounding by genre pros who don't know how to soil a Western, and with Douglas in the director's chair you got a man who knows his way around an honest Oater.

No pulling up of trees here, and some familiarity does do it down for those in tight with the genre, but lots to like here. From the gunny opening salvo to the mighty stampede, and encompassing rueful closings, it's a treat regardless of historical lessons. 7/10

Randolph Scott usually has a bit of rogue in his characters but there's less of it here than usual. Scott is a member of a gang of thieves and barely escapes when the others are slaughtered by the U.S. Marshal, played by George MacReady who is a bad guy even when he's a good guy, as he is here. That was a close call, Scott reflects, and maybe it's time to hang up my sixguns and take up farming. Not only does he farm (corn) but he marries the daughter of the local church deacon. How good can you get?

Nothing good lasts, however, as anyone over the age of eight knows. His former buddies play a dirty trick on him and expose his identity as a bandit, forcing him to leave wife and home and take to the road again. The Doolin Gang isn't bad, as bank-robbing thieving murdering gangs go. None of them is really evil, although they have their differences. The movie differentiates them pretty well and gives us a chance to get to know them, weaknesses and virtues alike. They have colorful names which I can't remember exactly but are something like "Tulsa," "Brickbat," "Arkansas," "Little Billy." Little Billy is the educated one. He's been to school in Pennsylvania. You can tell because he can quote Benjamin Franklin. He's played in such an effete manner by Noah Beery, Jr., that one wonders if his character isn't one of those barely disguised gay people that some of the older movies used. In any case he does not utter one believable line. But Scott is pretty good, playing it so straight. And John Ireland is very watchable too. I don't know why, but I've always liked John Ireland even in villainous roles. The bridge of his nose seems to have caved in and drawn his eyes closer together. His best role was in "All the King's Men." He had a much more prominent part in "Red River" than we see on screen in today's prints. His role was cut to the bone by director Howard Hawks when Hawks found out that Ireland was romancing Hawks' girl friend at the time, who shall remain nameless here except for her real name -- Letitia laCock -- which wasn't made up by Andy Warhol.

Where was I? Oh, yes, Scott's pretty good. I enjoyed him in his earlier movies, "My Favorite Wife" and "Follow the Fleet," where he established and retired the world's record for repeating the word "swell" on screen. There was a considerable hiatus in his career while he played replaceable heroes in replaceable Westerns, until he made "Ride the High Country" for Sam Peckinpah. He was genuinely good in that -- all rogue, from beginning to end.

A laconic black & white western, rather simple by Randolph Scott's standards, the action including lots of riding about and and an eye-watering punch-up.

An excellent supporting cast includes a feisty young Dona Drake and George MacReady refreshingly playing a goodie for once.

As has been generally observed, John Ford was making adult westerns long before the release of the high profile 'adult western' High Noon, and he was doing it under the radar of 99% of the critics of his day.

While no Ford, Gordon Douglas directed lots of highly watchable films that likewise never got their due in their time. Doolins is one of these. As a well-known director for hire, Douglas once credited the existence of his entire oeuvre to having a family to feed.

--Fair enough, and a pretty bravely self-deprecating and self-aware attitude in a town of pretentious auteur-wannabes. I'd offer the opinion that Douglas was the average intelligent man making films for his peers. Because of that, his films remain worth a sit-through. (His Kiss Tomorrow Goodbye rivals Walsh's White Heat in energy and noir viciousness as a late Cagney vehicle.)

This is the best Randolph Scott western after the Boetticher films. Place it alongside other fine non-Ford westerns of the era, including Angel and the badman, Winchester 73 and Yellow Sky. It's definitely worth a watch.