Vingador Impiedoso

The only reason I watched this film was because of Gary Cooper. While maybe not the nicest person in the world in real life, he was a wonderful actor and I'd watch even one of his weaker films just to see him act. And, as usual, he was very good (though a bit old to win the girl at the end of the film).

The problem, then, is that despite all of Cooper's talent, the film is just a very ordinary and run-of-the-mill cowboy film. I could EASILY have imagined almost any other actor being able to do Cooper's role and the film would STILL have been mediocre. It's because so many elements of the plot just seem too familiar and too clichéd.

About the only thing that stood out was the interesting character played by Leif Erickson---who oddly received such low billing in the film even though he was one of the main characters! The idea of an Eastern "dude" coming West to impress his girl was kind of funny and he did provide a few cute moments and an interesting sidekick, of sorts, for Cooper.

Aside from that, the film is imminently skipable. It's a film that only Cooper addicts or B-quality Western addicts should watch--there are frankly too many better films out there worth your time.

I don't think I've ever watched a good cast work harder to make a bad script work. Which means the directing had to be good too. And, for the period, the production values are pretty high too. But the real candidate for lynching was the writer, not the bad guy in the movie.

I would have scored it lower but for the laughs I got out of the woefully bad dialog and virtually every cast member's heroic efforts to keep a straight face while delivering their bits. If you're a Gary Cooper fan, or just like to listen to Ruth Roman's sexy husky voice, the rest is worth a watch for just how funnily bad it is. Funnier than many an intentional western parody.

Former Confederate soldier Blayde Hollister (Gary Cooper) is looking for revenge against a group of crooked carpetbaggers. Wild Bill Hickok is the law and he shoots Hollister dead. It turns out that the two friends had faked the incident. They allow in the new Federal Marshal Martin Weatherby (Leif Erickson). Hollister and Weatherby head off together with Hollister taking Weatherby's identity.

Gary Cooper is doing his High Noon thing. I'm looking for something much more brutal. He should be laying waste to anyone remotely connected to the incident. This needs to get much darker considering it's for his family. I also don't like the loudmouth reb during the shoot-out. He is so clueless that it becomes annoying. Otherwise, this is fine.

Gary Cooper has given us much much better in his career, for instance the awesome HIGH NOON or MAN OF THE WEST. This one is directed by the bland Stuart Heisler whose film have never excited me that much, except maybe I DIED A THOUSAND TIMES. That makes me think I should watch some of his stuff again. So this one, a Warner movie, remains a good western, but a but boring because so much predictable plot with foreseeable characters and also character study. I have it in French dubbled in my collection, and the characters - with American first names in the genuine movie - are named with FRENCH first names in the French version. Such a disgrace, replacing Will, Bryan, Blayde but Guillaume, Marcel - ha ha ha - or Julien. Why, why, why? In most other dubbed westerns that I have seen in my French movie goer life, American first names are kept. But not here. Ok, that doesn't remove the interest and quality of this movie, nor add however, but that bings a comic situation, totally weird. So, to summarize my review, this is a western to be watched for Gary Cooper's fans, but not one his best.

A throwback to the "old fashioned" Westerns of the 30s and 40s (such as DODGE CITY), DALLAS has a number of things going for it: Gary Cooper at his coolest, blazing Technicolor photography by Ernest Haller (GONE WITH THE WIND) and a pulse-pounding Max Steiner (KING KONG, GWTW, DODGE CITY et al.) score. In addition, there is a masquerade, mistaken identity, a faked death and more hair-breath escapes than a Republic serial. As always, Cooper defines what it is to be a man under pressure. Forget the 50s angst Western... this is pure entertainment!