Train to Tombstone

One of the worst movies ever to make to the bottom half of a double bill. Extremely low-budget, and it shows. Lame script (loosely based on Stagecoach), acting varying from firmly stereotypical to "what am I doing here" painful, narrative consisting of a string of set pieces with little attempt to tie them to the story line, in which the train has to "get through", and there's a plot to steal a whack of gold.

Most of the action is shot on a single set, the interior of a passenger coach. Almost all external shots are either rear projection or stock footage, chosen with scant regard for authenticity and still less for continuity. I watched this mess because it has a railroad setting. The train includes a mid 20th century baggage car on a supposedly mid- to late 19th century run to Tombstone. There's a lot of shooting, with dramatic falling off screen when wounded, etc. One of the characters is shot in the left shoulder, and receives a bandage around his middle.

That may stand as the level of writing and editing of this waste of celluloid. Well, maybe not a total waste. It could be used in a film studies course as an example of how not do it. Recommended as just such an example, if you're in the mood for it.

I saw this movie in the late '50's on a double feature with A STAR IS BORN,fo all things. And it still stands out sharp in my mind as the worst movie i have ever seen. The cast was a set of cliches as a kind of ripoff of Stagecoach, and there was only one set, the interior of a railroad car. All the action was out the windows, and entirely by rear projection. That was so bad that when the Indians swept past the windows, they must have been 50 feet high. And when someone sent a flock of sheep to stop the train, you saw a flock of sheep, but no tracks, no train. The incompetence of the production reached a kind of perfection.

Don Barry was a very talented actor, and an excellent director in his one effort at the helm. But apparently he just didn't have much luck.

Not much was required of him in this obviously very low-budget film, but he tried his best. He was surrounded by some other little-known but capable actors.

Alas, no one paid enough attention to the final cut. For example, one shot of "Indians" riding toward where they were planning depredations is used twice! Such a recognizable shot is re-used within moments of its first appearance! Inexcusable!

"Indians" and fake "Indians" -- I use the word in quotation marks because the aboriginal peoples of North America were and are not from India -- are chasing the rolling train, and wide shots show the attackers only behind the train, but the people inside are shooting only out the sides!

I do hope that editor was never allowed inside another studio.

One person who is shot, is about to fall over but manages to shoot his assailant before falling to the floor then lying there, apparently dead or at least unconscious while the train, with no one at the controls, continues rolling down the track.

When someone comes to try to take over the controls, he approached the man lying on the floor, who then jumps right up, all eager to get back to work.

Even for Lippert, this is a pretty bad production. But I'm still a fan of Don Barry, and I'll watch anything he is in. But maybe not twice.

TRAIN TO TOMBSTONE is one of the films Don Barry made at Lippert after leaving Republic. These films are often a bit different from the norm (Red Desert, for instance...) and usually have excellent supporting casts. Barry wrote the story for this film also, and it's cleverly constructed as we have a train that throws together a diverse lot of people, PLUS we have the suspense of knowing the someone on the train is a criminal, PLUS we have the added suspense of knowing that the train will possibly be attacked along the way, but we don't know for sure or when or how or by whom. So there are a few different levels of suspense, yet most of the film can be shot on a small, static set. Barry, considered a young Cagney when he first came on the scene before his western star days, was always one of the better actors among series western stars, and he commands attention well here. Robert Lowery, with added mustache and now in his "supporting actor" days, adds more tension to the proceedings as a marshal overseeing the train (or is he?), comedian Wally Vernon is funny as a salesman trying to sell corsets to Indian women, and Tom Neal plays a doctor, although his character is not really developed very much. While it's easy to fault the film (there are external shots of bad guys chasing the train, but usually there's just a mediocre projection screen out the window that looks about as real as the one used in THE GREAT TRAIN ROBBERY, and in one scene the characters are firing guns out the window at the projection screen!), if you come to it with enough willing suspension of disbelief, it's an exciting ride, and it only takes less than an hour. The same director and four stars also made I SHOT BILLY THE KID the same year--one wonders if they were made back to back, although Berke and three of the four stars were Lippert regulars anyway. Overall, this is solid b-movie entertainment. The train plot device was a nice change of pace, and anyone who has enjoyed Don Barry's work in other films should check this one out.

When his popularity began to drop at the box-office, Barry signed with Producer Lippert to make a series of low-budget entries. This one has Barry posing as an outlaw during train ride to Tombstone. This movie was shown so often on local L.A. TV stations, it soon became a euphemism for repitition! If it's on late, turn in early.