La patrouille de la violence

Former Texas Ranger named Logan (Audie Murphy) and nowadays luckly married to a beautiful girl , Susan (Beverly Owen) and with a child , becomes involved with a bank robber called Sam Guard (Darren McGavin) who results to be ex-husband of Susan . He had to kill or be killed , as he fought the deadliest duel in frontier history ¡ The gunslinger whose life he had saved forced him to stand in the path of a robber .. Bullet for a badman.

A nice Western with interesting plot and filled with frantic action , riding pursuits , a family story , and a lot of shootouts . This is considered to be one of the best Audie Murphy Westerns . The soft-spoken , baby-faced Audie Murphy delivers a fine acting as the happily married husband involved in problem when appears the previous father of his son about to commit a bank heist . Murphy won more than 20 medals , being the most decorated soldier in WWII , including the Congressional Medal of Honor and he was also awarded with 5 decorations conceded by France and Belgium countries . He starred a rendition based on his own self-biography titled ¨To hell and back¨ made by his ordinary director , Jesse Hibbs and it was a boxoffice hit for Universal International Pictures , and its record was apparently not broken until 1975 with Jaws by Spielberg. Murphy played a great number of westerns, most of them B-series , such as : The Kid from Texas , Cimarron Kid , Gunpoint , Night passage , The Gunrunners , Posse from hell, gunfight at Comanche , Apache Rifles , The Unforgiven, Red badge of courage , Whispering Smith , Texas kid , 40 Guns at apache pass , among others . Murphy is very well accompanied by a great support cast , such as . Darren McGavin , Ruta Lee , Beverly Owen , Skip Homeier , George Tobias , Edward Platt , Ray Teal , Mort Mills , and Alan Hale Jr .

It has a high level in technician experts as the master composer Frank Skinner giving a thrilling musical score and colorful , adequate cinematography by Joseph F. Biroc . Being shot on various locations in Virgin River , Zion National Parl , Utah , Snow Canyon , Utah and Denver street backlot , Universal studios. The motion picture was well directed by RG Springsteen .This director made since 1945 for Republic Pictures a number of westerns . As he directed the popular Red Ryder series . After that , he released B Westerns as Cole Younger , Gunfighter , King of the wild stallions , Showdown , He rides calm , Taggart , Bullet for a badman and many others . Subsequently , he made for producer A.C. Lyles and delivered by Paramount Pictures several Western films in low-budget , as follows : Black spurs , Waco , Red Tomahawk , Hostile guns , Johnny Reno . Rating . 6.5/10 . The picture will appeal to Eddie Murphy fans. Decent and acceptable oater .

This universal western holds a special place in my heart as it was the first Audie Murphy film I saw. That was back in 1985 on LWT ( London channel) and boy was I hooked.

Audie plays an ex-Texas ranger, now a farmer, who ends up joining a posse to catch his former friend, who was once was married to Audie's character's wife and is the father of Audie's stepson. The friend played by McGavin wants Audie dead but he hasn't got a chance, not with greedy posse - who have an eye on the stolen money - and the mauraudin' Apaches in the way.

Bullet for a Badman is a well-paced western, full of action, but it's countered with good characterisation. It's very much traditional, which by then was becoming anachronism, but it's a great example of the genre. The dialogue was really engaging and humorous. McGavin had good lines and Audie acted really well, underplaying with that smooth tight-lipped style.

Audie Murphy unusually starts out as a mild-mannered homebody, but sure enough soon has to strap on his guns again as part of a posse which as led by Skip Homier are an even uglier bunch than desperado Darren McGavin's gang; with nobody daring to turn their back on anyone.

Ruta Lee makes a feisty moll to McGavin.

This Western might be best described as a "motley posse" Western. The irony here is that Audie Murphy's other famous posse Western, POSSE FROM HELL, probably sums up this posse just as well.

There are other similarities. Both posses are filled with very credible characters. The big difference here is Audie's character. In POSSE FROM HELL he played more of a Hollywood cliché, another of those rebels without a cause sorts who are angry for exactly no reason.

Here, he plays a more believable character, a mature man more in tune with the realities of the old West. Purists may grumble about the lack of dust and sweat on these colorful props and clothes, but there are two chief reasons for this spectacular style of cinematography. First, is it's artistic, of course. Secondly, and what we see is a problem later in the "dust and dirt" Westerns, is there is less confusion. The film is supposed to tell a story. With the vivid spectacle, we know what is going on. The trouble with showing what the characters see is that we don't know what is going on. Okay, the dork who pauses and magnifies each frame, he knows, but sane, mature people will refuse to do this.

The characters make this a superior Western, no doubt about it. Murphy is a "stepfather" whose son doesn't know his real father is not only an escaped convicted killer, but that he was once a Texas Ranger along with the stepfather.

The relationships and dialog concerning the family could still be used today. In fact, I've seen real father-wife-stepfather-child dialogs today that are almost identical to the lines in the film, from people who have never heard of Audie Murphy, much less seen the film. The directing and writing here, certainly of characters, is as full of insight as you will find.

That shouldn't surprise you, that a film from over half a century ago would have more insight. Hollywood really lost the "insight" and "character" with the seventies mainstream. These older films not only had writers who had to live more mature lives, but also had to appeal to more mature audiences than the later cubicle dwellers.

The subtle differences between the posse members also deserves note. The skipper plays the lawman of the group, and is much more like a real town lawman than people today would think, full of fear and desperation. The "chief" of Control plays a very realistic honest member of the posse. The two town tough guys, bouncers in the saloon, are shown to have their different personalities. One is pure evil, but the other has some "manly" qualities, refusing to kill the woman for thousands of tax free dollars. The old grizzled veteran reveals multiple dimensions about himself, but most notably his demonic side, a side which we see mostly in the characters we could almost respect otherwise, as he lightly discards the squaws he butchered.

Audie's nemesis begins the film with a demonic act, in fact. We never forget what he is, and that there is an evil in him that isn't in those of us who aren't psychopaths. No doubt, some of the IMDb bubble boys and beavis types, will think he's "cool", but to people who deal with reality on a more usual basis, Audie's character will be the one who looks "cool".

The last of the Audie Murphy's are the best. The early ones are enough to put anyone off watching Budd Boetticher's work.

"Bullet for a Badman" is solidly crafted and, in the scenes of the posse holding off the "murderin' Pachees" that grizzled old timer Tobias warns about, has an effective set piece. The traveling shot where the riders lift above the moving camera, as they gallop up the ridge, must have gotten a cheer in the theatrical runs.

Murphy's character, the Texas Ranger who retired to look after the wife and child of his jailed chum, Darren McGavin, is too saintly for all but the most gullible but McGavin's study in vengeful, shaded macho is just what the film needs. He's surprisingly plausible in the saddle. The men are nicely chosen and effective, with Springsteen's experience showing in the way they ride and handle weapons, used to build their characters - the best cowboy movie tradition.

The women get by in the scrubbed up manner which undermines these films' pretensions to realism.

The colour is OK but Joe Biroc did a lot better and the score, credited on the film to veteran Skinner, is on the glum side. The use of stunt doubles for the leads is too obvious too.

These Universal westerns were good value once they got a hint of production value, even if this one doesn't compare to the best of the Delmer Daves- John Sturges - Anthony Mann cycle.