The Silver Star

November 1954 saw the swift completion of "The Silver Star," the last of Lon Chaney's three releases from Lippert Pictures, this one from a short-lived outfit formed by producer Earle Lyon and director Richard H. Bartlett. A pedestrian ripoff of the superior "High Noon," partially conceived by actor/co-producer Ian MacDonald (main villain Frank Miller from "High Noon"), producer Lyon taking the lead as newly elected sheriff Gregg Leech, while director Bartlett opposed him as top henchman King Daniel, riding into town with two comrades, challenging Leech to face them at 8PM or get out fast (obviously, HIGH 8PM doesn't have the same ring!). Where its inspiration featured a plethora of interesting characters in support, such as Katy Jurado and Lloyd Bridges, this ultra low budgeter falls flat with non descript characters, only top billed Edgar Buchanan, in the retired sheriff role essayed by Chaney before, getting much of a chance to sink his teeth in (there's even a similar theme song, done by Jimmy Wakely rather than Tex Ritter). The cowardly Leech was recommended to replace Buchanan because both his father and grandfather were lawmen, but he simply wanders from one end of town to the other, unable to make up his mind until a certain amount of running time is used up, while the three hired gunmen take over the saloon, a steady supply of whiskey evidently ruining their shootin' eyes for the predictable outcome. Lon Chaney plays crooked attorney John W. Harmon, on the losing end in the election for sheriff, whose smiling demeanor fools absolutely no one, all convinced that he is the one responsible for those hired guns, entering at the 25 minute mark, almost 5 1/2 minutes screen time but a weak villain that hardly taxes his abilities. In cahoots with Chaney is fellow veteran Barton MacLane, again joining together the following decade for the A.C. Lyles Paramount Westerns. Producer Earle Lyon and director Richard H. Bartlett probably did the leads as a budget saving device, but their nonacting isn't helped by the sketchy characters they portray, robbing this modest effort of any possible tension. Lyon continued after their partnership dissolved, while Bartlett moved into television, after directing Chaney once more in a Universal oater starring Jock Mahoney, 1958's "Money, Women and Guns."

If you have seen Joseph Pevney's THE PLUNDERERS, starring a terrific Jeff Chandler, you'll find many similarities with this one, where a sheriff is alone against a bunch of hoodlums. In the Pevney's film, Chandler was a war vet and one armed guy; here the sheriff is an actor whom I have never heard of nor seen anywhere before, and that's very surprising. He has to face and fight against outlaws, show his courage. This is a pretty cute western, full of charm, as the other films from Richard Bartlett as a director. Some kind of personal touch that I appreciate. Try it please, you'll won't regret it.

THE SILVER STAR is a Western about fear. Lon Chaney Jr wants to be sheriff to run the town as he likes but Lyon, whose granddad and dad died in office as town sheriffs, steps up to the plate... until King Daniels (Bartlett) blows into town, accompanied by two murderous sidekicks, and that is when Lyon decides to go for a long ride around, meeting here and there with former sheriff Edgar Buchanon (as spelt in the credits).

Chaney is scared to show his hand. Bartlett is scared enough to come with henchmen. Lyon is obviously scared not just because of past family losses but because he feels the town should be involved, it should not be up to the sheriff alone.

Throw in the ultimate femme fatale in noir films, Marie Windsor, here playing the role of goody two shoes girlfriend who tells Lyon she will not have a coward for her mate, and will not leave town on the train with him.

Which is a reversal of the situation in HIGH NOON, done three years earlier, in which a train brings four bandits to town intent on killing Sheriff Will Kane.

Meanwhile, Lyon keeps going around on his horse while Jim Wakely sings a tune that is not so very different from "Please don't forsake me oh my darling" in HIGH NOON. And so the Hamlet-like young sheriff wanders about before finally deciding to turn in his badge to his predecessor, who is man enough to go out and start the vital showdown that makes Lyon realize that he has to do something, not just stand around.

And so some cosmetic complexity is added to a pointless story whose sole moral lesson is that the sheriff should never have to act alone. What is more, this sheriff portrayed by Lyon cannot shoot straight enough to hit an elephant, let alone moving human targets.

B cinematography, unconvincing direction, laughable script, and one decent performance from the ever reliable supporting actor Edgar Buchanon, better known as Buchanan, here in the leading role. Waste of 73 minutes.

This may have been the worst Western ever made. Edgar Buchanan must have been embarrassed to be a part of this disaster - he alone gave this movie what little professionalism it possessed. From a faulty storyline to a horrible script - it was painful to watch.

Lon Chaney Jr. Must also have been desperate to participate in this fiasco give the many films he completed that were classics.

The plot line was so paltry, that the viewer is actually puzzled as to the purpose of the conflict. The Sheriff's cowardice was well done - but the plot line dissolved it by simply changing scenes. The sheriff goes from coward to hero in seconds - and even when he finally acts like a sheriff he appears to be a bungling amateur.

One star is too much for a movie that throws a shadow on the two actors (Chaney and Buchanan) who were outstanding in many other films.

A dour, offbeat western with some good acting and some not so good acting. A seasoned director and a slightly larger budget might have made this really click. Still, if you like 50s B westerns, it's worth seeing.

A favorite scene of mine goes directly to the low budget of the film and the offbeat quality of the film. When Edgar Buchanan is thrown out of the bar across the the wood platform and onto the dirt street, we hear breaking glass as a sound effect! But then....he continues to grab his arm (the assumption is that is was hurt when he was thrown onto the street). I liked that. Very realistic. Something you almost never see in an old low budget film.