User reviews

A nice Western stars a valiant female who uses the power and raw courage to vanquish difficulties , she's , of course, Maureen O'Hara. Cattle baron Reece Duncan (Alexander Scourby) is opposed by ambitious gambler Jim Averell (William Bishop) , both of whom compete for public lands and unbranded stray cattle. That's why Averell imports his old flame , shapely saloon queen Kate Maxwell (Maureen O'Hara) , and sets her up as an alternate cattle buyer against cattle king Reece Duncan. As matters build toward violence, igniting a range war , while Kate finds she's being taken advantage of . But her only potential ally in staving off carnage is seemingly mild-mannered sheriff Stan Blaine (Alex Nicol) who distrusts her. As she , subsequently , changes sides and will fight against her promoter , as he helps mistreated settlers . Queen of An Outlaw's Lair!

This is a moving western dealing with the ordinary conflict between freedom and the need for order and cattle settlements . An Universal International Picture set in Wyoming Territory , where a range war is brewing between entrenched cattle barons and new settlers. The picture regards interesting issues such as the economical abuses by powerful owners including violence , and the sexual resources that the beautiful lady , gorgeous Maureen O'Hara , using to get her purports . Nice and feisty acting by the great Maureen O'Hara as the sympathetic as well as brave Kate Maxwell who finds himself in the middle of a range war between greedy cattle barons and newcomer settlers . Acceptable picture , the film has agreeable messages dealing with an obstinate woman who fights for the rights of the cattlemen and based on mutual respect for independence of the Woman rather than submission to Man , as well as demonstrations of bravura and decision . Main and support cast are frankly good . Along with the always stunning Maureen O'Hara , there are several known actors and Western ordinary , such as : Alex Nicol , William Bishop , Robert Strauss who won Oscar award in Stalag 17, Alexander Scourby , Gregg Palmer , Jack Kelly , Dennis Weaver of McCloud , Stacy Harris , Fred Aldrich ,among others .

It contains a colorful and brilliant cinematography in CinemaScope and Technicolor by Winton C. Hoch , John Ford's regular cameraman . The motion picture was professionally directed by Lee Sholem. In a 40-year career, he directed upwards of 1300 shows, both features and TV episodes, without once going over schedule--a feat probably unparalleled in Hollywood history. Sholem started out in the cutting room some time in the 1930s. A lengthy association with "Tarzan" producer Sol Lesser brought him in contact with the celebrated William Cameron Menzies, from whom Sholem learned the key to expedient production, and later led to his first directorial assignment (Lesser's Tarzan and the magic fountain 1949). This filmmaker was a good artisan who made a large number of films about various genres such as Adventures : Tarzan and Magic Fountain, Tarzan and the slave, Hell Ship Mutiny, Ma Pa Kettle Waikiki , Jungle Man-eaters , The Louisiana Hussy , Western : Redhead of Wyoming , Río Apache, Terror : Pharaoh's Curse , SciFi : Superman and the Mole Men , Doonsday Machine , Tobor the great . In addition , he made several episodes of known TV series in the 50s and 60s such as : Adventures of Long John Silver, The Sheriff of Cochise, 77 Sunset Strip, Men into Space, Sugarfoot, Bronco, Cheyenne , Miami Undercover, Death Valley Days, Maverick, among others . The film will appeal to vintage western movies enthusiasts .

During the 1930s, 40s and 50s (especially the 50s), Hollywood made a bazillion western films. Because they made so many, it's not surprising that there are several basic plots you'll find in about 95% of these movies. This one features two of these plots...plots that are really clichés because they occur so often. First, there is Jim Averell...a guy who wants to be more and more powerful. He's running for governor and has his eyes set on controlling the west. Second, he's making himself richer and richer by bringing in a gang of cutthroats and they spend their time rustling other folks' cattle. There is so much familiarity about these story elements...too much. Sure, Maureeen O'Hara is there and she looks nice in color but the film never seems more than just another mediocre western with little to distinguish it aside from having O'Hara involved in the big gunfight at the end. Ordinary...

In a routine western about simmering conflict between settlers and landed cattlemen in Wyoming Territory, dazzling red-headed Maureen O'Hara gives "The Redhead from Wyoming" a feminist slant. Amidst a cast of rather colorless cowboys, O'Hara cuts a striking figure; her flaming hair captured by Winton C. Hoch's Technicolor camera, blazes over her striking costumes, designed by Edward Stevenson. O'Hara catches every eye with bare shoulders exposed by flamboyant garments in lavenders and yellows that are in sharp contrast to the earth tones favored by her male co-stars.

Unfortunately, the leading men are as lacking in color as their costumes. Tall blonde Alex Nicol as Sheriff Stan Blaine displays little emotion, except when his eyes cast an appreciative glance at O'Hara's barely concealed decolletage. William Bishop is passable as the duplicitous Jim Averell, who has history with O'Hara's character, the tough Kate Maxwell. Most of the cast is comprised of relative unknowns with the exceptions of Robert Strauss and Dennis Weaver in small roles.

The undistinguished screenplay, which deals with cattle rustling and a potential range war, is unworthy of O'Hara's talent and screen presence; the fiery Irish actress plays a smart business woman, who can ride and shoot with the boys, yet maintain her femininity. Kate Maxwell may be ruthless, but she is no tomboy, and her wardrobe bears no resemblance to those worn by Joan Crawford or Barbara Stanwyck in their western roles. Kate is impeccably coiffed, made-up, and garbed, even when wielding a shotgun or riding a stallion. Other than an early portrayal of a strong woman in the Old West, "The Redhead from Wyoming" fails to rise above a fairly entertaining, if unmemorable, oater with an unforgettable star.

Let me admit off the bat that I know nothing about Director Lee Sholem and, on the strength of THE REDHEAD FROM WYOMING, I doubt I will get to know more. For a less than famous director, he wastes a good cast: O'Hara gets the star treatment, the two Alexes - Scourby and Nicol - go invisible for long stretches, and poor William Bishop is checkmated by a much two-faced character, a would-be gubernatorial candidate involved in cattle rustling, but using as a front O'Hara and the saloon he gives her.

For a wild west plot, there is very little shooting, contradictory behavior, a whole load of supporting faces whom you cannot tell whether they support Scourby or Bishop, with drifter sheriff Nicol taking beatings from both sides but somehow capturing O'Hara's heart (lucky lad!)

The film seems much longer than its 81 minutes, which ain't a good sign. 6/10.

Just your standard western fare. Well acted. All the key elements are here, right down to the silly cover that isn't really in the movie. Oh and well the Redhead gets to show off that hair :O I was in a rash of buy Maureen movies most of the year in 2015 then bang. She was gone. Not cool. Then I didn't watch them for awhile. Got tons of On Demand dvd (r's) Not all of them westerns but why not have fun. Totally for kids too....

Quality: 6/10 Entertainment: 9/10 Re-playable: 6/10

The Redhead From Wyoming casts Maureen O'Hara as a saloon mistress and cattle queen in the new state of Wyoming. Then as now Wyoming is a sparsely populated place and we've got ourselves a typical range war western in this flick.

There's a lot stray cattle in Wyoming and a guy can stake a claim, round up some mavericks and start a herd. Only the guy who got there ahead of everybody else is Alexander Scourby owner of the local Ponderosa. He's got an unofficial no trespass sign on unbranded cattle on his range.

Into this mix comes O'Hara and William Bishop. O'Hara comes to run the local saloon owned by Bishop. He also sets her up in the cattle business as well. But he's got an agenda all his own and I will say he dreams big.

Maureen O'Hara as The Quiet Man was opening to rave reviews was busy working on this film and she called it a 'stinkeroo' in her memoirs. But it's a matter of perspective, next to The Quiet Man it really is. But it's not a bad action western.

Possibly also she saw that William Bishop had the best role in the film by far. As I said he dreams real big, he's got the small ranchers on his side and he's not got their interest at heart. Bishop is slick and crafty with a good line of gab.

Nominal hero in the piece is Alex Nicol as the outsider sheriff caught in the middle. Nicol never really registers though as a strong hero, the part called for someone like Jimmy Stewart.

A couple of television western regulars had supporting roles here. Dennis Weaver plays one of the small ranchers and Jack Kelly plays Bishop's top gun hand. He has a nasty fight with Alex Nicol in the climax.

It's not a 'stinkeroo' as Maureen put it, but unless you're a fan of her's don't go out of your way to see it.

This shaky A western stars Maureen O'Hara in a variety of fancy dresses. With a range war brewing, old flame William Bishop imports her and her wardrobe to serve as a beard for his operations when she isn't running her obligatory saloon. She's caught between Bishop and mild-mannered sheriff Alex Nicol.

Besides a very purple tuille number, Miss O'Hara wears a black lace dancing outfit for the final shootout, in which she handles a shotgun. I found it a striking and discordant image, typical of auteur Lee Sholem. A decent, if rote script, the usual cast that had been filling out B westerns for a quarter of a century, and some nice color photography by Winton Hoch complete the ensemble.

A voice-over opening, with Winston Hoch's outstanding camera-work of calf roping and branding on screen, is a promising beginning and describes the setting for this film in 1870s Wyoming Territory, aboil with open range cattle raising and rustling, stimulated by the Territory's Maverick Law which permitted settlers to brand calves as their own if they were not within the confines of deeded property. When the voice-over ends the scenario begins, and that is a pity as it is woeful, approaching unintentional pastiche of the genre, with a fast-moving series of scenes lacking development, motivation and narrative continuity helpful to a viewer. An obvious vehicle for the beautiful Maureen O'Hara, splendid in Technicolor with her flaming red hair and green eyes, the piece unfortunately places her acting shortcomings to the fore, although she does her own stunt work, as is her wont. Alex Nicol is miscast as a laconic sheriff and Alexander Scourby is a bit too elegant for his role as a principal landowner, but William Bishop makes something interesting of his part as the film's primary villain, although his dialogue is no more penetrating than that of any other cast member. The plot deploys O'Hara as Kate Maxwell, a dance hall diva who is set up as proprietress of a saloon by her former lover, Jim Averill (Bishop) so that he may utilize her place of business as a front for rustling cattle, whereupon Kate is rent by her dual attraction to Averill and to the sheriff, who is taking steps to oppose this criminal enterprise. Director Lee Sholem, a straight ahead sort, is not given to varying of moods within his pictures, and that is the case here, resulting in a cursory and literal reading of the puerile script. Edward Stevenson's costumes for O'Hara are striking and appropriate and master make-up artist Bud Westmore does not have his craftsmanship disturbed by her riding and shooting activity, which is of a piece with the others in the colorfully garbed cast, whose raiment is barely disturbed by violent goings-on; indeed, the players often appear to be about to launch into song and dance, turning this affair into a musical of sorts, which might have been an improvement. The film includes the debut of Jeanne Cooper and an early effort of Dennis Weaver, atypically portraying a hard case, and somehow Robert Strauss is included in this one, completely out of place. Despite crisp editing, REDHEAD seems to take a long while arriving at its predictable ending, and although the cast never seems the worse for wear from its exertions, the viewer certainly will be, during this motivationless attempt to cast light upon a significant segment of Western American history.

A great movie. It has it all: wonderful acting, an excellent script, great cinematography, and impeccable continuity. But most of all, it has, in great abundance, Maureen O'Hara. This is her movie, and carries the movie well. She is in almost every scene and dominates the movie. She is absolutely beautiful. But her looks are not the whole story. Her acting is superb. She projects both vulnerability and strength. Her character, Kate, is assertive, intelligent, honest and courageous. Kate takes charge in the story. When she has to ride a horse, she rides; when she has to defend herself, she defends herself; and when she is interested in a man, she is forthright yet modest. She is trusting but you can't double cross her and when she is wronged, she lets you know. The other cast are excellent too, especially William Bishop as the bad guy, Averell. Also, the movie effectively dramatizes the economic and social conditions that triggered the range wars in the West in the mid-nineteenth century. If one likes Maureen O'Hara and westerns with strong stories, then this movie is worth watching.

Okay, Maureen O'hara's dresses are over the top and half the cast in most scenes, seems to be thinking, "why is she wearing that". Still, the movie has some interesting qualities and good moments. First, we have a woman who not only looks pretty and sexy, but can ride fast, think and use a gun. The writer, Polly James, is probably responsible for the fact that we have an interesting and strong woman character in the lead, a refreshing change for a 1953 Western. Second, the film makes several references to Maverick. First Jeanne Cooper (36 years on the Guiding light soap opera later) gets called a maverick, then Maureen O'hara starts referring to Sheriff Stain Blaine as "Maverick". This was four years before the "Maverick" television series and probably this movie was an inspiration for it. William Bishop, as the heavy, Jim Averell, is a much more interesting character than the drifter Sheriff played by Alex Nicol. Bishop is also a better actor than Nicol. The plot twists are silly, but fun. For example, at one point, when you think there is going to be a battle between two gangs, the sheriff convinces everybody to throw their gun belts on a wagon. Surprisingly everybody does it. I just wondered how they were going to get the fifty or so gun belts redistributed back to their original owners when they left. There's some fun in watching Dennis Weaver (later "Gunsmoke" and "McCloud") in one of his earliest roles. He's fine. Also Jack Kelley who went on to play Bart Maverick in the television series is around in a slightly smaller part. Altogether, this is a rather pleasant 80 minutes. Maureen O'Hara, feminists and Western fans should especially enjoy it. Incidentally, costume designer, Edward Stevenson, went on to win an Oscar in 1960 for "the Facts of Life." He designed costumes for over 190 movies. Guess, everybody has an off-day.

Colorful B western directed by a B director: Lee Sholem who was not that brilliant in his career. It is question here of cattle rustling, a topic used ten millions times in western history. It would be forgettable even with the presence of the Duke's best friend, as himself called Maureen O'Hara, the only woman belonging to the John Ford's gang: John Wayne, Ward Bond, Victor Mac Laglen, Harry Carey. Here she doesn't look like a man in her attitude, she is not Barbara Stanwyck in FORTY GUNS, CATTLE QUEEN OF MONTANA or MAVERICK QUEEN. It is nevertheless a pretty good little entertaining western, among the best films that Lee Sholem made, xanks again to Maureen O'Hara; but Rhonda Fleming - the other redhead from Hollywood with Arlene Dahl - would have been in her place here.