Honra Sem Fronteiras

More than Lose Remake of "My Darling Clementine" (1940) the John Ford Classic.

Rory Calhoun Vehicle with a Smattering of Gun-Play with a "Powder River" Ferry-Boat Scene a Highlight.

Good Cast with Cameron Mitchell as the Doomed Doctor and Corinne Calvet as "Frenchy" a Fiesty Saloon-Owner-Gal making an Impression.

Never Reaching Heights of its Own, the Movie is Watchable for the Cast, Technicolor, and Proven Story.

Rory Calhoun is a bit More Animated than Usual.

The First-Half is the Better Half.

But Still Maintains Enough Interest to Carry yet Another 1950's Western to its Predicable Feel-Good Exit for Post-War Western Fans who were Legion.

Louis King means squat to me as a director: the only other film of his that I saw was DANGEROUS MISSION! And I cannot remember it in any detail though I rated it 7/10.

Rory Calhoun rules the roost here: he blends Wyatt Earp and Destry, though at the start he is a humble, no nonsense gold digger who knows who killed his mining sidekick, wants to avenge that death, takes on the role of sheriff, and never wears a gun - very much like Jimmy Stewart in DESTRY RIDES AGAIN.

In turn, Cameron Mitchell plays Mitch Hardin, an ultra quick gun hand who, like Doc Holliday, boozes far more than good health requires. As if that were not disruptive enough, he also coughs and suffers from severe headaches that disable him every so often, at times right in the middle of a shootout. I found myself laughing at his plight, but Hardin - the name of a real and famous killer among gunfighters in the Old West - is loyal to Calhoun, even if their relationship does not get off to a wholesome start, as both have their eye on the same female. In the end, poor handsome Calhoun gets no girl but Hardin - who saves his girlfriend's life by removing a bullet from her chest, so he is a qualified but often inebriated medical doctor - sounds ever more like Doc Holliday.

Good cinematography, fair screenplay. Generally good fun. 7/10.

It demonstrates that black & white was perceived as the default position for serious postwar Hollywood cinema that this character-driven western potboiler was one of the very few colour films namechecked in Robert Warshow's 'The Immediate Experience'.

As for the film itself the most memorable characters are Cameron Mitchell as a doctor succumbing to headaches and blackouts due to a brain tumour and Corinne Calvet usually with a cigar protruding from her glossy red lips and wearing bright colours as a brassy 'businesswoman' known to the rest of the cast as 'Frenchie'.

This Western has two good things going for it; dialogue by Daniel Mainwaring who wrote fiction under the name of Geoffrey Homes. For those who recall ' Out of the Past, ' or alternatively titled ' Build My Gallows High, ' he was responsible for the novel it was based on, and the dialogue in the film. Some say it is the greatest Film Noir and they could be right. Turned screenwriter he wrote the dialogue for this film and it is first rate; complex, snappy and full of energy. Out of the actors in the film Cameron Mitchell as a tormented man, threatened by death and afraid of it gives a first rate performance. The story itself is the usual one of stolen gold, and tracking down the killer of a man who was protecting it. No spoilers but Rory Calhoun gets to be the man to do that, and his performance is as slick and over polished as ever. However much he tries to portray a ' good man ' the fake smile shows up the opposite and spoils the illusion. Corinne Calvet plays a saloon girl in love with Mitchell. And she does her best to make you believe in her. As a Western it is good, but as usual the town is too clean for the period and the clothes too clean. Personally I like this decade of Western mythology, and the colour is excellent, and a shootout on a boat adrift and heading for the river's rapids is first rate. There is even a carriage on the boat which gives the scene a surreal touch. I give it a 7 for Cameron Mitchell and the dialogue.

I have always been surprised to see that ambitionless film director Louis King gave the best of his films by the end of his career. Not masterpieces, but greater films than the bulk of what he made in the thirties, forties: I mean grade Z westerns, or crime series - Bulldog Drummond, Charlie Chan; I though make exception with this small crime flicks for Paramount Pictures starring Lloyd Nolan, J Caroll Naish and produced in the late thirties. So this one, produced by the prestigious Twentieth Century Fox - Louis King"s also prestigious brother Henry's company - is a surprise. Louis King could have worked for Allied Artists or Republic Pictures. Excellent little western, the kind that Universal Studios could have made too. Splendid location settings. However, 20 Th Century Fox gave us similar B westerns in the fifties, several directed by Harmon Jones. And a strange and unusual showdown. Cameron Mitchell in a surprisingly good villain performance.