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Plus points were Robert Taylor, the before-they-were-famous appearances of several of the cast, and a reasonably fresh plot. (By 1959 virtually every conventional Western theme had been over-repeated.)

But there were several flaws in how the producers depicted the Selah Jennison character, not least the exaggerated head-turning sequences after she'd bought some new clothes. Shortly after her sensational parade through town, she goes skinny-dipping (not uncommon in Westerns) and makes a point of attracting Mackenzie Bovard's attention. Perhaps I could look at the film again to make a particular note of how her attitude to the deputy marshal changed, fluctuated even.

Grilled cell windows facing onto an alleyway feature in many Westerns, but it was only when I was watching "The Hangman" that I realised what a security risk many of these would have been. So wide-spaced were the bars that a hand gun - or even something larger - could have been passed through them to the prisoner.

As others have remarked, the last couple of minutes of the film provided an ending that was none too satisfactory.

Movie casts a lot of 60s tv stars that make it hard to stop watching. Robert Taylor come across as a real dick to Tina Louise and is way too old for her. But she won't identify ex-boyfriend Johnny who's run a straight and productive life since being an unknowing accomplice to a Wells Fargo heist. Everybody in town likes fugitive Jack Lord. Even Sheriff Daniel Boone won't arrest him and falls for Johnny's ex-girl. So it's up to Taylor to "book him Denno". You'll recognize a lot of the actors and try to recall where you saw them before which makes it interesting to watch. Spent a lot of time looking up actor on IMDB.

I had low expectations coming into my viewing of The Hangman and was pleasantly surprised by how much I enjoyed it. It's unique for a western in that it doesn't have a lot of 'action': shootouts, lynchings, etc. or even a clearly identified villain that the audience can root against. Just because it doesn't have those usual tropes commonly used in the genre doesn't devalue the results. The story contained is solid, the performances are uniformly good, and the regular injections of humor are fun and welcomed. Overall, The Hangman is worth checking out.

The Hangman is directed by Michael Curtiz and written by Dudley Nichols and Luke Short. It stars Robert Taylor, Tina Louise, Fess Parker and Jack Lord. Music is by Harry Sukman and cinematography by Loyal Griggs.

Marshal Bovard (Taylor) arrives in town to identify and arrest the last of four outlaws who robbed a Wells Fargo stage. Unfortunately for Bovard, the man he seeks is very popular with everyone in town and nobody is keen to help the Marshal do his job.

It is thought, and on reflection it seems likely, that The Hangman is a caustic jab at grassers/finks, with the Hollywood Blacklist never far from the film makers thoughts. Bovard is a grumpy and rough fellow, a jobs-worth who has almost zero faith in the human race. He's confident that the people of this border town wont take much persuading to give up an outlaw, more so as he has money to offer as well. How wrong he is, and the rest of the film follows Bovard as he bangs his head against brick walls, until the banging stops and a light-bulb lights up over his head, perhaps not all people are bad?

In truth not a lot happens, there's no action of note, this is more about morality, redemption, human foibles et al. Yet the literary aspects of the story hold tight, keeping the viewers engaged till the end. It's a very nice looking and sounding picture as well, the absence of airy vistas is not a hindrance as Curtiz and Griggs utilise the interiors for some psychological results that deftly suit the narrative's pointed edges. While the sound mix and musical accompaniments achieve the best results possible to aid the tale.

It's a strange one in that it's more a film in a Western setting than being overtly a Western, it's also a little subversive. It even throws something of an annoying curve ball at the finale, though the makers were probably chuckling away to themselves about this as well. Great and sexy turns from the lead actors sees the material safely onto a healthy grazing pasture, to make it a recommended picture to fans of the stars and of literary Oaters. 7/10

This is a superb scenario for this western in the city where a Marshall (Robert Taylor), looking for a wanted man (who risks being hanged if he is found guilty), is confronted with the fact that he is appreciated by everyone in the city. To identify him, he uses an acquaintance, Tina Louise, who will be able to identify him. This one, Jack Lord, turns out to be a good guy that everyone loves. Our Marshall finds himself alone against the others who will passively help their friend to escape.

The richness of the scenario is in the interaction of the different characters. Between Robert Taylor, the professional who doesn't care about the person he is looking for, because he is just wanted to be judged (he is not a jury or a judge) and the other characters: Tina Louise, the witness who is supposed to identify him; the sheriff Fess Parker, who helps the Marshall by profession. All three will evolve during the course of the story and change or adapt their position and posture. The sheriff will help the Marshall at first, then not so much later. The sheriff falls in love with Tina Louise (there is reason to). The Marshall ends up saying that doing this is not necessarily something he is excited about and will change his position, perhaps to the point of resigning.

To these four main characters are added secondary characters, well existing and well written and that enrich the story: the mature lady who tries to seduce Robert Taylor; the colleague of Jack Lord who fights with him, for example.

Note a beautiful scene where Tina Louise gets out of her bath and goes to her room to get dressed, with Robert Taylor present in the room. A scene both visually rich and rich in dialogue.

Until the conclusion, not necessarily unexpected, but very nice. This is a good story, timeless, which could be adapted in an infinite number of contexts, and therefore remade.