Le collier de fer

That was not the first time that Audie Murphy and Charles Drake co starred: remember NO NAME ON THE BULLET and TO HELL AND BACK. And I am sure there were other features starring both. This one is a good early sixties western, made by a rough specialist, showing a good character portraits, rather moving, and bringing good scenes, shots, camera angles. This is not enough to make it exceptional but it is for me one of the best from RG Springsteen. Maybe after all RG Springsteen was a talented director who was just not ambitious enough to deliver many gems, or lucky enough to have good producers to deal with. So please, don't miss this gritty western, not the worst from Audie Murphy.

"Neither one of you can make it alone.... maybe together you might make one good man... pull you apart ...it's like an oyster..... You're a couple of shells sharing one set of guts"

Things turn bad for a couple of drifting cowboys when they go into town to cash their pay.....real,real bad.

Excellent hard boiled Noir tale of the drifting cowboy hard luck trail with a very sinister edge. Some great massive landscapes position the claustrophobic anxiety and ultimate insignificance and futility of this nasty human story.

Audie gives one of his strongest performances and delivers some excellent patois dialogue full of cowboy logic and figuring. Chas Drake is great as the weak willed problem gambling pard.

Harold J stone is frightening and relentless as gang boss LaSalle and Skip Homier, is very disturbing as one of the stupid sadist henchman.

Strother Martin gives an excellent performance as pathetic town drunk Charlie Reeder and the scenes with his hard talking children are disturbingly frank.

Kathleen Crowley proves to be an excellent casting choice as pathetic ruined Estelle.

This is my favorite Audie Murphy western and I think one of his best films.

Audie Murphy was reportedly furious when he learned that "Showdown" would be in black and white for budget reasons. But the b&w seems appropriate for this western because Murphy's character is the perfect film noir hero. He usually played a gunfighter with a troubled past, a lawman, or a combination of the two but here he is Chris Foster, an ordinary cow puncher who just wants to collect his pay and celebrate with his pal Bert Pickett (Charles Drake). Because of Bert's drunken misbehavior, he and Chris have to go to "jail" which in the little New Mexico town means a post in the middle of the street with chains bolted to it and an iron collar for the prisoners. It is a very visually arresting (if you will pardon the expression) image. Also chained to the post is the notorious outlaw Lavalle (Harold J. Stone) and his gang which includes Foray (L.Q. Jones) and Caslon (Skip Homeier). When Lavalle and friends escape, Chris and Bert have to go with him putting them on the run from the law. From there, Chris tries to keep himself and his friend alive - not to mention clear their names - as they attempt to buy their way out with some bonds stolen from an express office. There is even, if not a femme fatale, a cynical dame who could help the two men out of their trouble but is unable to trust what Chris tells her. Now, if that's not a noir plot, I don't know what is. Noir, noir on the range. Not one of Audie's best, neither one of his worst (so far I haven't found a "worst"). But as always, Audie Murphy is a charismatic lead actor. The cinematographer is Ellis W. Carter. Location shooting was done at Lone Pine, California which is a good match for the film's setting in New Mexico, especially in the desert views.

I loved this movie. Having watched so many old westerns recently that lacked much realism, I found this to be quite a hard edged and grim atmospheric piece that I really enjoyed. Audie Murphy with his baby face can be very convincing and was perhaps a better actor than I previously remembered from when I was young, and I'm constantly having to remind myself that he was the most decorated American soldier of World War II. Kathleen Crowley,who I had forgotten about, was quite sexy in a mature way, and I grew to like her as her part went on. There's a great cast of old character actors who never fail to please in old westerns, Harold J. Stone, Skip Homier, L. Q. Jones, Strother Martin and Charles Drake. There's not a lot to not like I thought, although I kept thinking this would have been so much better in colour and wide screen which let it down just a little bit. I thought it was quite tense throughout, mainly brought about by the fact that Murphy is chased (and I love chase pictures) throughout the film by various characters and for the most part he has to outsmart his opponents and overcome them in spite of the fact that he rarely has the chance of acquiring a weapon. Very well made on what appears to be a low budget.

SHOWDOWN (1963) has extensive location shooting around Lone Pine, California at the foot of the Sierras. Because it was shot in black-and-white, however, ostensibly to save money, the picturesque locations are not seen to their best advantage the way they are in Murphy's color westerns from that era (e.g. HELL BENT FOR LEATHER and SEVEN WAYS FROM SUNDOWN, both 1960). Color cinematography would have given us something interesting to look at during the labored proceedings. It's a low-budget affair with a contrived script provided by "Bronson Howitzer," a curious pseudonym for Ric Hardman, a writer of TV westerns. The plot is one of those routine potboilers about a group of outlaws holding the hero and various people hostage in hopes of a big payoff. At too many points in the script, people engage in uncharacteristic behavior in order to keep the basic situation intact. Two innocent cowboys, Chris (Audie Murphy) and Bert (Charles Drake), are detained after a drunken saloon fight and chained to an outdoor post alongside desperate outlaws in a town that doesn't have a jail. When the outlaws break free, the two friends inexplicably flee instead of staying and trying to explain their situation. Bert (Charles Drake) even steals some banknotes, which he then uses to bargain for his and Chris's life after the outlaws grab them. Each subsequent chain of events arises from the outlaw boss (Harold J. Stone) letting one friend or the other go off on his own on a mission involving the money, even though no self-respecting gang leader would place such trust in his hostages or let them go off on their own so easily. These outlaws are neither very tough nor very smart.

Things get more complicated when Bert's purported girl, a saloon singer named Estelle, enters the picture. She has a couple of dramatic scenes, including an extended monologue, that must have made the actress (Kathleen Crowley) quite happy but tend to slow the movie down. Only when Chris is on his own against the remaining gang members in rugged terrain does the picture get interesting. Unfortunately, there are not enough of these scenes to save the movie. Murphy's very good in a patented role as a decent ordinary guy caught up in the machinations of lawbreakers, but he would have been better in color and with a more thought-out script. There's a sense here that the production was just a bit on the hurried side.

Strother Martin plays a town drunk and L.Q. Jones plays a silent member of the gang. Both are among the town's prisoners chained to the same post early in the film. They're seen in shots together but don't interact. These two actors would make a memorable team six years later as the squabbling "gutter trash" bounty hunters Coffer and T.C. in Sam Peckinpah's THE WILD BUNCH.

According to "No Name on the Bullet: A Biography of Audie Murphy," by Don Graham, Murphy was quite upset when he learned that SHOWDOWN was being filmed in black-and-white and almost stopped working. "I'm not gonna act," is how he put it. The producer eventually talked him into finishing the movie, but Murphy vowed, "This is the last picture I'm gonna do in black and white." It was.

(Regarding the filming of Lone Pine locations cited in the first paragraph, I should stress that those landscapes can look absolutely breathtaking in black-and-white when captured by a master cinematographer. Just look at classic movies like LIVES OF A BENGAL LANCER (1935), CHARGE OF THE LIGHT BRIGADE (1936) and HIGH SIERRA (1941), to name three. But we're simply not going to see images like that in the kind of rush job we get in SHOWDOWN.)