Le doigt sur la gâchette

Acting and production (including music) are top notch. Screenplay is well written. Entire cast is made up of major stars and great character actors which made this an entirely worthwhile "Saturday Matinée" in its day. Although not noted, this is a color film of about 81 minutes in length. There are some on-screen shootings & deaths ... but no blood; it could easily have received a "General Audience" rating.

A pirated VHS tape version of this film was distributed in the USA in 1992/1993 by "Dominican Releasing, Puerto Rico" under the title "SMOKIN' BARREL"; This version (shamefully) cut-out all original titles and credits and simply replaced them with the two-worded opening title "SMOKIN BARREL" and a two-worded closing title "THE END"; there was no other information. The quality of this tape, recorded in the EP mode, was extremely poor visually with blurred images and in high contrast; it was almost unviewable (although the sound was acceptable). The tape's box had numerous errors in the credits ... crediting Vaughn Monroe & child actor Billy Gray (I) as being in the film (they were not) ... and leaving off one of the two main stars ... Fred MacMurray ... as well as the actual child star Tommy Rettig. It also states the film is rated "R" (believe me, AT GUNPOINT is NOT an "R" film). Avoid "Smokin Barrel" ... but definitely see any other good quality legitimate versions of this very good film.

Fred MacMurray was not fond of his westerns, his most famous quote was that "the horse and I were never as one". But he rode no horses in At Gunpoint. MacMurray plays the town storekeeper who takes up a weapon and together with Frank Ferguson shoots Jack Pickard head of a gang trying to rob John Qualen's bank. He gets the outlaw leader and saves the money. The town acclaims him and Ferguson, but Ferguson is ambushed by the same gang outside town, MacMurray becomes the town leper.

Comparisons have been made with High Noon, but I think this resembles more 3:10 to Yuma and Johnny Concho. In those two westerns we had citizen heroes as opposed to cowboy heroes. There's no resemblance to John Wayne in MacMurray's role.

Even his wife Dorothy Malone wants him to leave, but MacMurray wants to stay. His only friend is the town doctor Walter Brennan.

This is a very good if somewhat unconventional western. Keep an eye on Skip Homeier as well. He's playing once again an evil punk.

About 30 years ago, I was on vacation in Florida with my family. One rainy night in our motel we settled down to watch this movie, and it stuck with me forever. Even today, I can watch a movie, and a month later, I can't remember it - usually because it had terrible acting, an awful (or non-existent) plot, or both. But I will never forget, "At Gunpoint." I suppose another reason I remember this movie is because I was so young, and the movie had adult themes. But I understood the themes. I liked how MacMurray, the common man, became an unlikely hero. To me, this was a movie about heroism being thrust upon a person, and how MacMurray's character awkwardly dealt with the responsibilities that came with that heroism. In kind of a backwards way, the heroism came first, then the courage, but only after a long, drawn-out, sweaty palms, interim battle with his own fears. I also liked the way the movie juxtaposed accidental heroism with the real, earned heroism in the same character--it defined heroism. This was also a movie about how a hero sometimes has to stand alone amidst a community of cowards, even if it means certain death, and that, sometimes, honor is more important than life itself. The suspense in this movie was gripping. When watching it, I felt MacMurray's nearly incapacitating fear as he waited for the dead bandit's friends to return and get their vengeance. Everyone should be able to easily relate to the universal themes in "At Gunpoint." I didn't comment on the details of the scenes of this movie for fear of getting them wrong - it has been over 30 years since I saw it.

During the 1950s, 90% of the westerns were based around two plots: the evil baddie who (often secretly) is trying to force everyone off their land as well as the town that's too cowardly to stand up and fight against evil. There have been tons of films based around these themes and "At Gunpoint" uses the second theme--the same one in "High Noon" and many other westerns. Just because things like this never actually occurred in the old west didn't seem to matter!

The film begins with a gang robbing a bank in a sleepy little town. They kill a teller and the town comes out to try and stop the robbery. One of the locals gets off a lucky shot...and kills the gang leader. His hot-headed brother (Skip Homeier) is determined to come back to town and get revenge. The first one they kill is the Sheriff and eventually they're coming back for the guy who fired the lucky shot, Jack Wright (Fred MacMurray). However, one by one, the townsfolk provide to be cowardly weenies and it looks like Jack is just gonna get his head blown off sooner or later!

The film is so, so familiar--so much so that even with some very nice acting and production values, it's just another western. Well done...and at least the ending itself was original.

The Dennis gang ride into the town of Plainview and set about robbing the bank. However, during their escape Alvin Dennis (John Pickard) is shot and killed by a one in a million lucky shot by mild mannered store keeper Jack Wright (Fred MacMurray). Further compounding the gang's misery is that Alvin was carrying the money and so the town have managed to reclaim what was briefly taken from them. Jack, in spite of his protestations, is hailed a hero by all and sundry, even picking up a substantial reward. But led by a hate filled Bob Dennis (Skip Homeier), the Dennis gang are plotting revenge and have Jack firmly in their sights. Jack is about to find out just who his friends are in the fickle town of Plainview.

Yeah yeah yeah, At Gunpoint (AKA:Gunpoint!) is for sure a variation on the High Noon theme, and yes it proudly stands in its pulpit sermonising a moralistic viewpoint. Its central theme one that has been used a number of times in Westerns both prior and post this Allied Artists Pictures release. But so what? If a story, and the potent universal messages at its core, is worth telling, then tell it. As long as it's told well and not bogged down by poor technical aspects, then that surely is enough for the discerning genre fan? At Gunpoint is directed by Alfred L. Werker and is written by prolific Western story teller Daniel B. Ullman. It's a Technicolor/CinemaScope production with Ellsworth Fredericks on photography duties, and the wonderfully named Carmen Dragon provides a bracing score. Supporting MacMurray and Homeier are Dorothy Malone as Jack's increasingly fretful wife, Walter Brennan as a loyal Doctor friend who likes a tipple, while Whit Bissell is a welcome secondary character addition.

So many good things to recommend here, it may be a simple fable, but it's lit up by high quality acting and thrives on the moody atmosphere constructed by Werker. MacMurray was always hit and miss, particularly in the Western genre, but when he got it right, or perhaps when he had an understanding director? He was real value for money. Such is the case here. His Jack Wright is an honest man reluctantly put up on a pedestal, thus he quickly becomes a scared man. Naturally fearful for his wife and child, he doesn't hide that he himself is no hero, and has no wish to become one. MacMurray perfectly plays it restrained, thus it is heartfelt and believable. Homeier was always best when playing a snarly villain and here he delivers just that, a villain hell bent on revenge, an avenging brother whose actions speak louder than words. Werker was an old pro, a jobber director, and here he was coming to the end of a career that would span 32 years. He offers up some nice tonal delights here. Witness the dusty storm that descends upon Plainview, it coincides with the town residents having a change of attitude. Then there's his framing of the Dennis gang as they come for revenge, it's impossible not to think of them as the four horsemen of the apocalypse. While the final shoot out, and the twist in the horse tail, is awash with tension and crowned by a remarkable bit of stunt work. This a fine film that belies its "B" movie roots. One that will hopefully find more fans as the years roll by. 8/10