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As many Western fans know, Night Passage was all set up to be the sixth genre collaboration between director Anthony Mann and actor James Stewart. After a run of successful and genre defining "adult" Westerns, the prospect of another was mouth watering to the genre faithful. The promise of something good was further boosted by the names of others involved in the project. The screenplay is written by Borden Chase (Red River/Winchester '73), cinematographer was William H. Daniels (The Far Country), the score is from Dimitri Tiomkin (High Noon/Giant) and joining Stewart in the cast are Audie Murphy, Dan Duryea, Jay C. Flippen, Jack Elam & the wee lad from Shane, Brandon De Wilde. That's some serious Western credentials. But sadly Mann was to bail at the last minute, the reason(s) given vary depending on what source you believe.

It's thought that Mann was unimpressed with Chase's screenplay, feeling it lacked a cutting edge (as reportedly so did Stewart). The casting of Murphy was also said to be a bone of contention to the talented director, while it has simply been put down to him having other commitments (he had both The Tin Star & Men in War out in 1957). Either way, Mann was out and the film was never going to be better for that situation (sadly Mann & Stewart fell out over it and never worked together again). In came TV director James Neilson and the film was wrapped and released with mixed commercial results. Yet the film still remains today rather divisive amongst the Western faithful, due in the main one feels, to that Mann spectre of potentially a better film hanging over it.

Night Passage is a good enough genre offering, but the plot is slight and the story lacks the dark intensity that Mann, one thinks, would have given it. The story follows an overly familiar tale about two brothers (Stewart/Murphy), one bad, one good. A story from which Chase's screenplay holds no surprises, it is in truth pretty underwhelming writing. With the actual core relationship of the brothers lacking any emotional depth. However, there's more than enough visually here to offset the standard plotting and make this a very enjoyable experience. Shot in Technicolor's short-lived "Technirama" process, the widescreen palette pings once the cameras leave the back lot and goes off into the mountains of Colorado.

Trains are the order of the day here, as Chase adapts from a story by Norman A. Fox, it's the train that becomes the central character, deliberate or not. As the Durango & Silverton Narrow Gauge Railway snakes its way thru the gorgeous terrain, it's that image one takes away, not anything that the thinly scripted characters have done. Still, in spite of its literary flaws, Neilson shows himself to be competent with the action set pieces, of which there are quite a few. While Stewart is as reliable as ever, even getting to play an accordion (a hobby of his since childhood) and sing a couple of chirpy tunes. Of the rest, Dianne Foster leaves a good impression as the Utica Kid's (Murphy) girlfriend and Murphy himself does solid work with his cheeky grin, slick hair and black jacketed attire that shows Utica to be something of a suspicious character.

Good but not great in writing and thematics, but essential for Western fans with big TV's. 6.5/10

This is the Western that director Anthony Mann backed away from, claiming that the script was too weak. Was he justified in doing so? How does "Night Passage" measure up when compared with the Mann Westerns? Is it as good?

Let's look at the positives first. The scenery, filmed in the Colorado Rockies, is magnificent, on a par with the best of Mann's Westerns. As for action, there is plenty of it, climaxed with a great shootout. The cast is experienced, many of them veterans from previous Mann efforts. No big difference here.

Audie Murphy stands tall as the Utica Kid. He is introduced to the screen dramatically, framed against the sky dressed all in black as he pulls up his horse to look down upon the train that will soon be relieved of its precious cargo. Back at the outlaw hideaway, he sits back in quiet amusement as he goads mercurial boss Whitey Harbin (Dan Duryea), knowing how far he can push and when to back away. Definitely the most interesting character.

However, "Night Passage" falls down in two very important areas, the treatment of the leading man and the strength of the overall script.

Mann's heroes are emotionally scarred, bordering on hysteria and total breakdown before finally getting the upper hand. James Stewart's Grant McLaine never comes close to reaching that point, even though he has plenty of things to fret about; his brother is an outlaw, he lost his job with the railroad after helping his brother escape and he can't find another job. He contents himself playing the accordion and singing for small change and we can never really get the feel of his deep resentment.

Mann's Westerns are lean and taut, with no superfluous dialog and no wasted scenes. Director James Nielson, on the other hand, gets sidetracked, allowing himself to engage in the kind of tomfoolery that director John Ford was sometimes wont to do. At the railroad camp, workers, who we never see working, dance to McLaine's accordion playing until that degrades into a wild free-for-all. Ford could pull off this kind of thing; Nielson is less successful.

To sum up and answer the question, this Western doesn't quite measure up to those of Mann's, but it's not bad either. It can be enjoyed as entertainment as long as one doesn't look for great character depth. Whether Anthony Mann could have made it something more will forever be a matter of conjecture.

Beautifully photographed, atmospheric western that takes a while to build up under James Neilson's direction--he took over from Anthony Mann, who was fired after clashing with star James Stewart--but ends with a slam-bang finale. Stewart and Audie Murphy work well together, with Stewart as a railroad employee entrusted with getting a payroll past a gang of train robbers, and Murphy his brother who's a member of the gang. Dan Duryea excelled at playing sadistic villains with a twisted sense of humor who actually got a kick out of their work, and he does another good job of it here. A solid supporting cast including Jack Elam, Robert J. Wilke and Herbert Anderson contributes to the film's enjoyability, along with some spectacular mountain scenery. While no masterpiece, it's a good, satisfying western with a catchy little ditty sung by, of all people, Stewart. Check it out.

The workers on the railroad are threatening to stop work and slow down the progress across the country because they haven't been getting paid. Every time the payroll is brought in it is stolen by Whitey Harbin and his gang. Thinking that nobody would suspect him, the bosses ask ex-employee Grant McLaine to carry the money on the next train. However when the train gets robbed anyway, Grant loses the money and is forced to set out after Whitey to rescue a boy, the boss' wife and the money – bringing him into a fight with the infamous Utica Kid.

I was drawn to this film by the names in the cast list, which was a good thing because it were these names that made the film better than they were by virtue of their performances. The actual plot is quite plodding in the first half but gets better in the second half. Even with this stronger half though it is still not a great western that could possibly compare to Stewart's better films. The musical numbers, dances and gentle set up of the first half almost had be losing interest and it is only the twists and gun fights of the final 30 minutes that make it memorable and worth seeing. Even then it is not without other flaws – characters are a problem. If you are able to understand the Utica Kid as a person then you are doing better than I did – in fact the film even lost it's first choice director because he was unable to understand the character's personality or motivation. The rest of the characters are pretty much as you'd expect – loyal girls, evil villains, cute kids etc, although they are made better by the delivery.

Stewart is always watchable and he carries the film well here. He is not a great singer but he does OK with the songs given him but his greater input is in delivering a tough character who is not all pure goodness but has a bit of a past to him. Murphy is cool and slick but he isn't a great actor and he isn't able to make the slightly irrational Utica Kid work as a person. Duryea overacts to good effect but gets forgotten by the film near the end, while support is OK from Stewart, Foster, De Wilde and Jack Elam.

Overall this is nothing special but it is still quite enjoyable. The number of well known names in the cast prevent me from calling it a B-movie but essentially that's what it could have been if not for the stars. The plot is deadly slow for the first half but has a good, fast-paced final 30 minutes that make up for it. The actors (in particular James Stewart) lift the film and make it feel better and it is fun if pretty unmemorable.

"Night Passage" is one of a series of westerns made by the venerable James Stewart for Universal in the 50's and 60's. This one is directed by James Neilson rather than Anthony Mann but is nonetheless an above average western.

Grant McLaine (Stewart) has been wondering from place to place over the past five years earning his living by singing songs and playing the accordion. McLaine had been fired by the railroad for appearing to have helped his outlaw brother, The Utica Kid (Audie Murphy) escape justice five years earlier. The railroad is being robbed of their payrolls by Whitey Harbin (Dan Duryea) and his gang. Railroad boss Kimball (Jay C. Flippen) rehires McLaine to guard the next payroll. Along the way McLaine learns that the Utica Kid is a part of Whitey's gang.

McLaine befriends a boy, Joey (Brandon DeWilde) as he is being chased by surly villain Concho (Robert Wilke). Later, the train on which they are traveling is held up by the gang and Kimball's wife Verna (Elaine Stewart) is taken captive. After being pistol whipped by Concho, McLaine recovers and trails the gang to their hideout. There he poses as the person bringing the ransom money while meeting up with his brother. Will blood be thicker than water? You'll have to wait until the final showdown.

The film is beautifully photographed and the railroad setting provides for many scenic moments. The Stewart character doesn't quite have the edge that he would have had in a Mann film, however ANY film with James Stewart is worth your time. Murphy playing in an rare "A" level movie does okay as the all in black gunfighter. Duryea is at his usual sneering slightly mad best as the chief villain.

Of the supporting players, Olive Carey (widow of Harry Carey) has a delightful bit as a muleskinner named Miss Vittles. Dianne Foster appears as Murphy's girl, "Charlie" and Paul Fix and Ellen Corby are hilarious as the Feeneys. In addition to Wilke, Duryea's gang includes Jack Elam and Chuck Roberson. For nostalgic TV fans Herbert Anderson (Dennis the Menace) and Hugh Beaumont (Leave It To Beaver) have small roles as well.

Worth your while.

Without Anthony Mann to deliver the goods, one would expect "Night Passage" to be a flop under the direction of the TV-oriented James Neilson. Quite the contrary is the case. This is one of the best westerns of the 50's. Audie Murphy, continually underrated by the Hollywood big wigs, turns in his best performance ever, even better than in the more touted "The Red Badge of Courage" or in "To Hell and Back" in which he plays himself. One senses that he is actually portraying himself more in "Night Passage" than in his autobiographical film. He is up against stiff competition and more than takes care of himself. James Stewart is fine as always and his accordion playing is above average. Hell, even his singing isn't all that bad. Some entertainers with less musical talent have built careers for themselves in the record industry. Dan Duryea gives an over the top rendition of gang leader Whitey Harbin, which isn't bad, just different for the gifted actor. The only one wasted in the picture is the fabulous Jack Elam, given only a minor character role with no place to go with it. The rest of the cast, including Hugh Beaumont, aka Ward Cleaver, strut their stuff, including the two women, Dianne Foster and Elaine Stewart. Brandon De Wilde is still playing his Joey Starrett part from "Shane." The viewer can almost hear him yelling, "Shane! Come back, Shane!"

The script by Borden Chase from a story by Norman Fox is a fairly predictable one, reminiscent in some ways of the more complex one Chase wrote for the Stewart/Mann masterpiece, "Winchester '73." Grant McLaine (Stewart) wants his old railroad job back. He's provided the opportunity by doing a job for the railroad, personally carrying the payroll to the workers at the end of the track to prevent Whitey and his gang from stealing it as they were in the habit of doing on a regular basis. There is a conflict of interest though since a gun riding with the Whitey gang is The Utica Kid (Murphy) with whom McLaine has a private connection. Unable to find the payroll, Whitey and his gang kidnap the wife of railroad tycoon, Ben Kimball (Jay C. Flippen), holding her until the payroll is turned over to them. The title "Night Passage" concerns not only the action that takes place in the night between McLaine and the gang but also the personal transactions that occur among the assorted characters involved in the resolution of the story.

Another asset for "Night Passage" is the cinematography zeroing in on the beautiful Colorado landscape around Durango. The Narrow Gauge Railroad train ride from Durango to Silverton is available for tourists to see the topography first hand. The El Rio de las Animas Perdidas (The River of Lost Souls), called the Animas River by most, is indeed a site to behold.

Jimmy Stewart made some wonderful Westerns in the late 1940s and through the 50s. Compared the the average Western of the time, they had rather complex and featured non-traditional plots. As a rule, I actually hate the formulaic Western, as they have absolutely nothing new to offer and are just too derivative to be taken seriously. While this movie does have some new plot devices and the excellent acting of Stewart, this movie is the closest of these Westerns to approach the old formulaic themes. As a result, it is probably my least favorite of his films, but it is still pretty watchable.

Stewart, uncharacteristically, is a traveling accordion player (I am NOT kidding about this, really) and he has been doing this job for several years since being blamed for a train robbery (he was working for the railroad at the time). This film gives him a chance to prove himself and regain his old job with the railroad. But, along the way he encounters Brandon DeWilde (the cute kid from Shane who was killed at a very young age) and Audie Murphy (the war hero and actor who also died way too young). Aside from these two characters and Stewart, nothing about the plot is particularly outstanding. A decent and watchable film, but awfully predictable and forgettable.

By the way--a note to movie buffs--you DO get to hear Jimmy Stewart sing several songs in this film! While his singing was absolutely awful in BORN TO DANCE, in this film it isn't bad--the loud and cacophonous according did great things to hide his less than stellar voice! If only he'd used it in this previous musical!!

RELEASED IN 1957 and directed by James Neilson, "Night Passage" stars Jimmy Stewart as a fired railroad man rehired and trusted to secretly carry a $10,000 payroll, even though he is suspected of being connected to outlaws (whose leader is played by Dan Duryea). One of the outlaws happens to be his younger brother, the Utica Kid (Audie Murphy). Dianne Foster and Elaine Stewart are on hand in the feminine department.

People say "Night Passage" is akin to Anthony Mann's 50's Westerns, but that's a bunch of hooey. True, Mann was originally slated to direct it, but he declined because he felt the script was lousy, arguing that nobody would understand it. He also thought it would be a stretch to have the 5'5"Audie Murphy play the brother of 6'3" James Stewart. While the height of the two actors is inconsequential (many families have a 'runt' in the litter, so what?), Mann was deadly accurate about the story, which is too talky and absurdly over-plotted. The story's so unnecessarily complicated that it doesn't work up any steam until the last 12 minutes, although there are a few quality moments here and there.

Mann's "Bend of the River" (1952), "The Far Country" (1954), "The Man from Laramie" (1955) and the outstanding "The Last Frontier "(1955) are all infinitely superior to "Night Passage." Yet it's not just an issue of a convoluted screenplay, although that's the main problem, "Night Passage" is also marred by old-fashioned hokeyness that those Mann flicks generally elude. The opening dance sequence and Stewart's occasional warbling with the accordion are two examples, although I could live with both if the story were compelling. Still, there's enough good here to maybe make it worth watching for those who don't mind 50's Westerns, such as the mind-blowing Elaine Stewart, the magnificent train, the scenic locations and the action sequences, like the climax.

THE MOVIE RUNS 90 minutes and was shot in Durango and Silverton Narrow Gauge Railroad, Colorado, and Buttermilk Country, Inyo National Forest, California. WRITERS: Borden Chase wrote the script based on the story by Norman A. Fox. ADDITIONAL CAST: Jay C. Flippen plays the railroad mogul and Brandon De Wilde (the kid from "Shane") an adolescent friend of the protagonists.

GRADE: C-

"Typical Western" is one of those frequent time-worn labels I think some people use who don't find this particular genre of much interest or entertaining. It's like the "typical war movie," the 'typical musical," the "typical romantic comedy," the "typical mystery." I apologize to people who write such things, because I don't read them. If someone can't describe the qualities – good or bad – of a film, but instead choose to use such catch-all phrases as "typical," well – I typically don't think there's much reason to read their comments further.

A couple of reviewers gave that label to "Night Passage," and I tried to think what was so typical about it. How was it like Stagecoach? El Dorado? Once Upon a Time in the West? High Noon? Along Came Jones? MacKenna's Gold? Angel and the Badman? The Searchers? Hombre? Rooster Cogburn? The Big Trail? Major Dundee? One-Eyed Jacks? Broken Arrow? Gunfight at the O.K. Corral? Man of the West? The Man Who Killed Liberty Valance? Open Range? The Cowboys? Fort Apache? The Horse Soldiers? The Magnificent Seven? This is just a sampling of some of the better "typical" Westerns that are all quite different in plot, setting, action, and scenery.

So, how is Night Passage typical? Well, it has guns and horses and cowboy hats and boots and a fist fight and women. And, it has an accordion and some singing. Now that's real typical for a Western. And there's a train. Yes, indeed, probably half a dozen to a dozen Westerns have been made that have trains in them – out of 200 or more notable films of the genre. And Western scenery? Absolutely – only this is set in the Rocky Mountains of Colorado with trees and mountains and streams, but not lots of sagebrush or buttes of Monument Valley. It does fall short on some "typical" things such as the one or two "standard" Western towns. Mostly this is shot in a train camp, a mining area, and in the great outdoors.

Enough of my tongue-in-cheek fun with the typical-ness of Night Passage. This is one very good film with a very interesting plot. But mostly, it has a top notch cast – a big one – of excellent actors who all give very good performances. And the scenery is spectacular. Just a typically very good Western all around. And just different enough to not bore one to death watching it.

Jimmy Stewart plays a former railroad worker who accepts a small job from his former employer; To carry a large sum of money aboard a train to make sure it reaches it's destination. He gets robbed, and by someone he has a past with.

Very predictable and by and large a very typical American western. The story is familiar and practically transparent, but it's got the irresistibly appealing Stewart to carry it. The film is also incredibly beautiful to look at. I read somewhere that this was the first film to be shot in 2.35:1 framing, a very wide screen format, and it works beautifully. With all these insanely vivid colors and the huge scenery depicted here, one could freeze many frames here and hang them on a wall. It's that beautiful at times.

Verdict; Solid, above average American western. Still like those Italian westerns more.

Stewart's westerns are always worth the watch but Night Passage is a paint by numbers cliched western. An extremely poor script coupled with mediocre directing doom this film. Stewart's singing is cringe worthy and his fake playing of the accordion is a nonsensical character add. Old nemesis Dan Duryea is way over the top. Mann wouldn't have allowed such baloney. Murphy rises somewhat to the occasion against all odds with a fairly decent performance. The rest of the cast is painful to watch. Brandon De Wilde is stranded without Shane and JC Flippen manages to notch the worst performance of his career. The lead women Foster and Stewart are as wooden as Kawliga.

As other have noted the second half of the film is slightly better but overall this is one of Stewart's rare duds. If you're a Stewart fan, (like I am) it might be worth your time. Barely.

I have watched this movie many, many times and I find it enjoyable every time. I have found this to be one of my favorite Audie Murphy vehicles. The role Audie played as the Utica Kid is quite refreshing, I'm sure that not all the badmen were void of personalities. The witty and sarcastic dialogue between Utica and Whitey shows how the leadership of the gang was always open ended. Throughout the movie the end is always assured in that good will prevail, you still have the hope that Grant will convince Lee to return to his father teachings. I believe that anyone watching this movie will find it to be very enjoyable and entertaining.

There have been some write-ups as to why Anthony Mann quit the film, either as a result of not getting along with James Stewart or his criticizing Audie Murphy on his acting ability. Personally, I think it might be the latter because I can't fathom anybdy in Hollywood not getting along with James Stewart! But, one thing is certain... the Mann trademark locations had already been determined before Mr. Mann left. Colorado never looked better! And the wide screen format just enhances this! I like films with trains. Here we see an extended train sequence through that beautiful scenery, including a fairly spectacular crash with the water tower.

It's been written in a couple places here that the cast was somewhat weak. While I do agree that Jack Elam only had a bit to do, we've still got James Stewart, Audie Murphy, Dan Duryea (great over-acting stint!), Elaine Stewart, Dianne Foster, Brandon De Wilde, Jay C. Flippen, Robert Wilke (looking like an older Richard Widmark), Hugh Beaumont, Paul Fix, and a nice scene with Olive Carey. That's a pretty good bunch for TV Director James Neilson to put through their paces.

The Cinematography gets a 10. The rest gets a solid 9. Highly recommended!

The problem with the film is that too many events had happened before it began: why Stewart has become a vagabond,his relationship with his kid brother, with his ex- sweetheart, Murphy's girlfriend Charlie, etc.

The beginning of the film is a little slow-moving,but thanks to colorful characters (the old miss , the miners' wives) and to Stewart 's talent ,who not only acts but sings and plays the accordion , it does not lack in charm .

As soon as the train is moving ,the film hits its stride , in spite of perhaps too many things ( hostage-taking , the Attica -big bro relationship , the traitor who wants his share ),and implausibilities: are the bad guys so dumb that they do not have a look inside the little boy's box ,a box he carries as if it were a precious treasure-which it is anyway.

The story may seem derivative but the Stewart /Murphy/De Wilde is not; the latter represents the kid brother he would have liked to have ; Murphy's past is only skimmed over whereas it explains why he wants to prevent the little boy from falling on the bad side ,after his failure with his own flesh : Murphy is ideally cast in with his youthful look ; as for whiz kid Brandon De Wilde ,he had already played opposite Julie Harris and Gary Cooper and was to be Warren Beatty's brother and Paul Newman's nephew later on;too bad he should disappear so early.