O Valente de Nebraska

A whole group of competent B film players get cast in The Nebraskan which as a film might pass muster for an episode on a television western. It's one of the most contrived pieces of film making I've ever seen.

First we have some Comanche politics where Maurice Jara is accused of murdering the old chief in a palace coup d'etat. His accuser is Jay Silverheels who becomes the new chief. Things are really bad though when Jara decides white man's justice is better so his friend, army scout Philip Carey brings him in.

But when they lock him in the army guard house, another prisoner there, Lee Van Cleef has other ideas. He's a trooper accused of murder and he busts out together with Jara.

Then we got passengers on a stage Richard Webb and Robert Haynes, husband and wife, who get rescued by the cavalry and then rescued by Carey on the trail of Van Cleef and Jara. Wouldn't you know it she's Carey's old flame who married Webb on the rebound.

All these good folks wind up at Wallace Ford's old besieged by Silverheels and the Comanches who want Jara real bad. If you have no idea how this is all going to end, you've not seen too many westerns.

Regis Toomey as the post commanding colonel and Dennis Weaver as a hot headed young captain complete the cast of this western. It's way too contrived for my taste and the ending in how all is put right makes no sense at all.

But if you're interested in what I'm talking about sit through The Nebraskan and find out.

A western directed by Fred Sears can not let audiences to expect great things, only wasting a good time. And those Columbia movies were all under seventy five minutes. But this western is not produced by the infamous Sam Katzman, but by Wallace Mc Donald. So, the overall quality is above - not average - but above what we would have to deal with under the producer Sam Katzman, believe me. And Phil Carey has such a presence whereever he plays in, that enhances the quality of this western for which the plot is totally forgettable, bringing nothing really new. So, among the westerns that Fred S Sears directed, maybe this one belongs to the top three or five, just after UTAH BLAINE.

This movie was the WORST western I have ever seen. The acting was forced, phony, and contrived. The script must have been written and completed in 1 day. The 'special effects' were outright comedy. The 'Indians' ran right out in front of bullets. I saw one 'Indian' fall down..BEFORE he was shot! The 'Indians' were speaking perfect English. I saw the same scene at least 5 times. It was so bad, I HAD to watch it to see if it was going to get any worse. NO MOVIE was going to get any worse than this one! Honestly, the actors looked embarrassed to be in this 'movie'. Lee Van Cleef was totally out of place. Phil Carey looked stiffer than the wood on the roof. The 'Indians' were stereotypical. Do NOT waste any money buying this 'movie'!!

Seen a hundred times: a small group of people in a post station besieged by Indians

• a brave cavalry scout

• his former girl friend, now married to a rich coward - the rich coward

• an indian cavalry scout, accused of murder of an indian chieftain

• an old cavalry man, friend of the scout (and responsible for the poor humor)

• an mad cavalry man and killer (Lee Van Cleef, who else ?)

The Story ? Kill a lot of Indians, talk much and often change the power (I thing the coward alone betrayed the other three times) The only good thing in this 3D movie is the short running time (excuse for my school English)

I last saw this western on a black & white set when I was 13 and my sole memory of it was an enormous close-up of a hand clutching a knife about to be plunged into a sentry's back; thus alerting the viewer to the fact that this was originally in 3D. That explains the occasionally jerky cutting to get the camera into the best position for 3D effects like a chair being crashed into the camera (while some of the exteriors are created to very odd effect by foreground objects like rocks or shrubs gliding in front of grainy long-shots).

The more conventional footage is attractively shot in Technicolor, but the budget plainly didn't allow for many cavalrymen or injuns, so the siege that takes up most of the second half of the film is an underpopulated business; while the scenes inside the besieged cabin are far too overlit.

A young Lee Van Cleef in a Yankee uniform figures prominently as the principal baddie. In it much more briefly is Dennis Weaver as a bone-headed Yankee captain who swiftly learns the hard way he should have heeded the hero's advice.