Les démons du Texas

Considering that this movie is almost 50 years old, it holds up quite well. Bridges, Adler and Cobb give striking performances in a tale set amongst a group of barren rocks in the Southwest. The plot moves slowly, building to an exciting climax. One of the best western movies of the 50s with a great musical score.

Robert Lippert, the force behind Lippert Films and later Regal Films, was a very resourceful Poverty Row filmmaker from the late 40s through the 50s who managed to make extremely interesting films with even more interesting casts on a low, sometimes shoestring, budget. He covered all the B film genres: Film Noir ("A Stolen Face"), Westerns ("Little Big Horn"), science fiction ("Rocket Ship X-M"), horror ("Lost Continent"), and war ("The Steel Helmet"). The studio occasionally even turned out more expensive period dramas (like "The Baron of Arizona") with class and some style.

In retrospect it seems inevitable that in the late 40s and early 50s elements of the newly emerging Film Noir genre would seep into the already well-established Western format. Memorable Noirish Westerns of the period include "Pursued," "Blood on the Moon," "The Furies," "Colorado Territory," "Ramrod," and two classics of the new hybrid genre: "Treasure of the Sierra Madre" and "Lust for Gold."

"The Tall Texan" is a minor masterpiece, interweaving themes from more traditional Westerns like "Stagecoach" with Noirish elements like lust, deceit, greed, betrayal, fate, paranoia, and irony with a disparate group of mismatched, morally ambiguous travelers thrown together by fate.

A great cast of Film Noir types (femme fatale Marie Windsor, laconic antihero Lloyd Bridges, fish-out-of-water sea captain with a shady past Lee J. Cobb, morally corrupt lawman Stanley Herrick, and ruthlessly unprincipled bottom-feeder Luther Adler) look as though they would be equally comfortable in a Twentieth Century urban setting with dingy buildings, rain-soaked streets and shadowy alleyways. However, they are also perfectly suited here, claustrophobically trapped in a metaphoric maze of giant boulders, unfriendly Indians, and their own greedy lust for gold.

Under the taut direction of Elmo Williams, the editing genius who transformed "High Noon" from a routine Western into a taut, edge-of- your-seat masterpiece, "The Tall Texan" is a highly recommended sleeper that both fans of Westerns and Film Noir will enjoy.

I'm a big fan of B movie westerns, but this one just put me to sleep. I tried it again the next day, with not much better results. The acting is fine, but there's little action until the last 20 minutes or so. The tension does build up towards the end & it gets pretty good at that point, but not enough to make up for the slowness of the rest of the movie. There are some interesting turns in the story, but too much camera time is spent watching the characters slowly ride from one place to another, then slowly walk from one place to another, then slowly unmount their horses, then talk, then slowly move on to something else. I guess the word I'm looking for is "pacing." And to sum up the pacing of this movie in a word: slow! The interpersonal conflicts are not enough to keep my interest. I rate it only 5/10, & the 5 is for the acting & the character development, nothing for plot or "pacing."

The Tall Texan casts Lloyd Bridges as a prisoner by sheriff Samuel Herrick to trial. To save time they are cutting across Indian country in a covered wagon driven by Syd Saylor along with other passengers Dean Train and wife Marie Windsor and beached sea captain Lee J. Cobb. They pick up a wounded Indian and no good deed goes unpunished in the west as his tribe who had wounded him in the first place wants him back to finish the job.

During the attack Train is killed and the Indians are driven off. In gratitude the Indian gives them some gold nuggets and shows them where there is a lot more. Problem being that the mother lode is in an Indian burial ground. The Indians take the groups guns from them and say they can pan for gold, but not to go beyond a marker they've set down.

They're all just ordinary folks, no cowboy heroes in this bunch. But the worst of them is a bottom feeding peddler they've picked up played by Luther Adler. He's the serpent in their golden garden and he's the real cause of their downfall.

Had this film been done at a major studio it might have proved as much a classic as that other film about gold fever, Lust For Gold which Columbia did a few years earlier. Still coming from Lippert Pictures it must be counted as a miracle that it turned out as well as it did.

A nice ensemble cast gives some great performances and the nice location shooting sure helps.

Try and catch this one if it's broadcast.

Despite a muddled script and a barrel bottom budget, this stark little b&w western remains oddly fascinating, even among today's color fests.

Check out that barren New Mexico desert that never leaves the eye for the hour-plus runtime. It's a perfect backdrop for the six guys and one gal trapped by Comanches in the lonely spaces. The travelers are basically on-foot now that their wagon's been overturned by the warriors. Good thing a more peaceful Indian group just wants to keep them off their sacred burial grounds, but otherwise just keeps them under a watchful eye.

Worse than the Indians, the guys find gold dust while rooting around for water, thus introducing a fresh and maybe more ominous set of complications. So now they're trapped not only by Comanches but by their own mounting greed, especially when Adler finds nuggets on the sacred burial ground -- no wonder the Indians keep watching them. It's that combination that really distinguishes the plot, even though the connecting threads are often obscure (or maybe that's just me).

Anyhow, it's a distinguished cast, laid low by looming Hollywood blacklist, and willing to take on even bottom barrel Lippert Pictures and a rapid 8-day shooting schedule. It's a strappingly adventurous Lloyd Bridges, a forceful Lee J. Cobb, a sneaky little Luther Adler, and an unexpectedly compliant Marie Windsor, a long way from her usual heartless vixens. Anyway, none are particularly likable or dislikable, sort of like many everday encounters.

Note too the underlying subtext of how the panned gold and nuggets should be distributed among the six men and maybe the woman. Should it be an equal division or should each keep his own findings, or maybe even extract from others, that is, if they can agree on amounts, or, worse, just plain get away with stealing it. I'm not surprised, given the political climate of the early '50's, that such a distribution question would be raised ( competing modes of socialism or capitalism). Doing it, however, within this context is especially distinctive.

No, the flick doesn't rise to the level of hidden gem, but does manage a sort of primitive earth spell. So, don't pass it up. The compensations are there.