La Chevauchée des bannis

Well, this is one of those movies you watch without any preconceptions because you have never heard of it before and it creeps up and socks you in the jaw. Starts, seemingly simply enough with Robert Ryan as the old school cowboy coming up against the more conservative farmers and settlers. There is the added ingredient of sexy Tina Louise, married to one of the new boys but clearly still having the hots for old flame, Ryan. Just when we think we have the measure of it and Ryan has picked his fight and the bottle is rolling down the bar, its crash to signal the start, the door bursts open. Knowing that Burl Ives was in the film and having mixed feelings about his acting abilities, i had wondered whether the miserable and bearded drunken side-kick to Ryan was he, but there was no doubting anymore as Ives and his crew of degenerates tumble in. Tensions abound throughout, the incredible barnyard type dance without liquor but plenty of vigour and barely disguised rape fantasies, is probably the most dramatic but there is an effective fist fight, various confrontations with the sexy lady and all this before the sublime and so very snowy last section as beauty and good intentions clash with cruelty and betrayal. Very fine and essential quirky western with solid dialogue and fine cinematography.

Outlaws make a stopover at a tiny frontier town, holding the residents hostage. The most notable feature of this western is its frigid, snow-covered setting, effectively conveyed by the stark cinematography. The plot concerning conflicts between ranchers and cowboys and the invasion of the outlaws is not terribly compelling but De Toth keeps it interesting enough. Ryan plays a disgruntled cowboy and, as always, he's worth watching. Louise, who played Ryan's Daughter-in-Law the previous year in her film debut in "God's Little Acre," here plays his love interest! Ives is fine as the leader of the outlaws. The score is nice.

Underrated Western with some genuinely unusual features. As a long-time fan of Westerns, I've seen only a handful hardy enough to film in the mountains in winter. But the results here are riveting, especially in grainy b&w. Those bleak snow-scapes with the horses trying to plow across are a rare glimpse of trail blazing before the 4-lane highway. The toll on man and beast must have been excruciating. Those memorable scenes are, I believe, the movie's high point, and to the credit of the producers, I could spot only one minor exterior set to break the continuity. Then too, the weather-beaten town looks authentic as heck. I just wish IMDb had been able to identify the locations so I'll know where not to winter hike.

Unusual too is the absence of a good-guy hero. The two leads, Ryan and Ives, are both strong characters, but with a wobbly moral compass that wavers somewhere between low- down meaness and high-type nobility. In short, you never know what they're going to do. That makes for two interesting non-stereotypes to drive the plot. I expect one reason the film was passed over by critics is because of sexpot Tina Louise as an audience draw. Known more for her Amazonian measurements than her acting skills, she nevertheless does well enough here, while watching her get bounced around the dance floor, hair flying, is not anything you'll see her Ginger do on TV's Gilligan's Island. Speaking of vintage TV, there's Ozzie & Harriet's elder son David as a good kid who's fallen in with the wrong crowd, and a teenage Venetia Stevenson who looks and sounds more like a malt shop than a frontier town. Somehow, you just know they'll end up together.

Nonetheless, it's a payday for a lot of sturdy Hollywood veterans in supporting parts, including the always dependable Dabbs Greer and my favorite plug-ugly bad guy Jack Lambert. Then too, maybe you can figure out what Elisha Cook Jr.'s role is supposed to be, but who cares, just seeing the little fall-guy resonates across a couple of memorable Hollywood decades. And who better to manage scriptwriter Phillip Yordan's parade of shifting alliances than a central European like Andre de Toth, whose 1947 Western Ramrod remains another hidden gem. Anyhow, no movie that pits the steely Robert Ryan against the immovable Burl Ives can afford to be passed up, especially when stretched across an unusually polar landscape that still gives me the cold shivers.

This is an excellent western by Andre de Toth. It is mainly remembered for its final thirty minutes,an extraordinary ride in the snow ,where the director makes the best of black and white pictures while he's filming all the tired horses ...Hell freezes over.

But the first hour is absorbing as well with its depiction of an one-horse town lost in the snow,a dead end where one never really knows which ones are prisoners and which ones are guards .The "ball ",during which the four women are really having a bad time (particularly Tina Louise)is one of the most violent scenes ever filmed in a western .And all they are doing is dancing.It has to be seen to be believed! Robert Ryan is ,as always,excellent ,as a tired blasé man who just wants to live in peace.

Cowboys and ranchers must stick together when a gang of outlaws ride into town intent on causing trouble and abusing the town. Even though the outlaw leader, ex army Captain Jack Bruhn has them under some sort of control, salvation may have to come from the moody Blaise Starrett, who has his own secret agendas to deal with.

Day Of The Outlaw (poor title not befitting the quality of the film) is directed by André De Toth ("Ramrod", "Crime Wave" & "House of Wax") and stars Robert Ryan, Burl Ives & Tina Louise. Adapted from the novel written by Lee E. Wells, it's a film that is crying out to be seen by more people, especially those with an aversion to Westerns. For although grounded in Western tradition, it comes across more as a moody film noir piece in a cold wintry Western setting

The atmosphere throughout hangs heavy like a weighted burden, with this tiny tin pot town in the snowy swept mountains photographed starkly by Russell Harlan. This is some out of the way place that nobody but its small inhabitants care about (appropriately it's called Bitters), and even those that do are probably doing so more out of ill judged loyalty to having not tasted something else before.

Robert Ryan was a terrific actor, often only mentioned when talk turns to famous pictures like "The Wild Bunch" & "The Dirty Dozen", but it's with performances like here, or "The Set-Up" & "Crossfire", that he really puts a depth and critical layers to his talent. Burl Ives is also great, his weary and scarred Bruhn is almost in empathy with Starrett and the townsfolk, so much so, we are never quite sure just how this picture will end.

Tina Louise rounds out the leads, and apart from being an incredibly sexy woman, she does some great facial acting here, particularly during a section of the pic where the outlaws demand dances with the ladies. This is laden with a vile undercurrent, with Louise perfectly portraying the threat with acting gravitas. With astute directing and acting to match the bleak and sombre soaked story, "Day Of The Outlaw" comes highly recommended to fans of atmospheric enveloped cinema. 9/10