Top Gun

Top Gun is directed by Ray Nazarro and written by Steve Fisher and Richard Schayer. It stars Sterling Hayden, William Bishop, Karin Booth, James Millican, Regis Toomey, John Dehner, Rod Taylor and Hugh Sanders. Music is by Irving Gertz and cinematography by Lester White.

Rick Martin (Hayden) is a notorious gunman who returns home to Casper, Wyoming, to tell of an imminent invasion by a gang of outlaws. But his reputation and vested interests see the town want rid of Rick quickly - something they may regret should they get their wish...

"You've been listening to a slippery tongued fella can make a lie stand up and take a bow"

Top Gun is no hidden treasure, neither for fans of 1950s American Westerns or of the under valued Sterling Hayden, you wouldn't be staking your life on this one knocking anyone's socks off. However, there is good cause to put it forward for a look see to both parties, for Hayden dose his imposing presence act and under the stewardship of the trusty Nazarro we get a meaty traditional genre piece of the era.

Front and centre is the anti-hero axis, where although his past deeds are unpalatable, the fact the townsfolk are in the main worm like, with chief heel duty falling to Bishop's Canby Judd, Rick is a man to root for. Loose canon role falls to a youthful smirking Taylor, making a good mark, and Dehner (wonderfully scuzzy) fronts up the villainous outlaws coming to sack the town of Casper.

Action is healthy in quota, the stunt men and sharp shooters earning their respective keep, while the look and aural technicalities are appealing when considering the budgetary restraints. Familiar traits such as a love triangle and the finale face off between good and bad does not a fresh film make, but the script packs some smart dialogue which in turn gives Dehner, Hayden and Millican room to hold court.

Good stuff for the genre faithful to sample. 7/10

An awful western. The trite screenplay and minimal sets are especially bad. That it has a top notch cast makes it particularly laughable, and the acting was surprisingly poor; maybe the cast members were sickened by the embarrassing script and direction. Big disappointment as I am a big Westerns fan.

To give one example of how lame the movie is, I mention this laughable "gem:" the hero (Hayden) tries to gain the confidence of the leader of the outlaws (Dehner) by offering to tell him where $50,000 in money is hidden in the town they just shot-up. Dehner seriously replies: we're so bad there is no town we can go to spend it! Hayden then has to tell him of a wide open town. Good grief!

Karin Booth shined though. Very beautiful woman.

I'm surprised that the TV Guide and MSN movie web sites gave it relatively high ratings (2-1/2 of 4 stars; and 3 of 5 stars). I wonder if they really saw the movie they reviewed. (The MSN site incorrectly said that the Booth character was married to the main bad guy. Not so, just engaged.)

Thanks to Sterling Hayden, this Ray Nazarro movie is above average for a B western, but again, as I have said many times before in my reviews, no surprise here. It is tense, taut, gritty, and saved by Sterling Hayden's performance, never wooden, never lame, only the eternal Sterling Hayden, as we love him so much. Yes, a good western from a Lesley Selander like western director. It also looks like a Sidney Salkow film in the directing and overall atmosphere. After all, the latest also directed Sterling Hayden in westerns: IRON SHERIFF, GOLDEN HAWK - though not western. So don't miss it please. It is really worth.

For a B Western, Top Gun provides top entertainment and makes a more-than-adequate contribution to its genre.

The initial conflict uses the basic premise of the Western: lone male figure, having been subjected to privation and now alone and searching for spiritual peace, finds the ultimate show-down when confronted with evil, which he tries to set right -- despite the all-powerful forces of law and nature which try to stop him. The situation -- that a top gunman is revisiting his home town to warn the citizens of a raid by the very gang he used to belong to -- is set up quickly and convincingly, even uniquely -- in a graveyard. The ensemble cast of veteran actors works well to create the tension necessary to convey a well-crafted and believable script. Sterling Hayden exudes gravitas, if not exactly charm, and his masculine presence is undeniable, nearly coming off the screen, as it does in all his films. The sets are well-constructed, and the camera work is consistent and well-planned, if not exactly subtle. The script even provides a few memorable one-liners, as when John Dehner (the heavy) gleefully tells Sterling Hayden, "Rick, you ole catamount, may you live until I kill you."

For Western fans, a gem; for Sterling Hayden fans, a treat (as the camera lingers on both his lumbering body and his rugged face for much of the film); and for cinephiles, a well-worth it adventure.

What a shame that a really competent director like Andre de Toth who specialized in slippery, shifting alliances didn't get hold of this concept first. He could have helped bring out the real potential, especially with the interesting character played by William Bishop. As the movie stands, it's pretty much of a mess (as asserted by reviewer Chipe). The main problems are with the direction, cheap budget, and poor script. The strength lies in an excellent cast and an interesting general concept-- characters pulled in different directions by conflicting forces. What was needed was someone with vision enough to pull together the positive elements by reworking the script into some kind of coherent whole, instead of the sprawling, awkward mess that it is, (try to figure out the motivations and interplay if you can). Also, a bigger budget could have matched up contrasting location and studio shots, and gotten the locations out of the all-too-obvious LA outskirts. The real shame lies in a waste of an excellent cast-- Hayden, Taylor (before his teeth were capped), Dehner, Reeves, along with James Millican and William Bishop shortly before their untimely deaths. Few films illustrate the importance of an auteur-with-vision more than this lowly obscure Western, which, in the right hands, could have been so much more.