This isn't one of those throwaway Westerns from the 30s and 40s. The production values are higher than that. Alan Ladd was still a popular star, and then there are Robert Preston, Donald Crisp, William Demarest, and Brenda Marshall. Except for Preston, most of the performers' best years were behind them by this time, and yet they must have cost money. No one behind the camera had anything resembling a conspicuous career. Well, I don't count Wally Westmore, who was on the payroll and got credit for the work of his subordinates. And I don't count Natalie Kalmus, whose sole contribution to films was marrying the guy who owned Technicolor and hiring lawyers who saw to it that, as his widow, her name was attached to every color film ever made.
It's too bad that except for the performers and the sometimes impressive location shooting, the movie sucks. It's not a total loss, as I say, not like one of the Three Mesquiteers movies. But it's as if the writers took one of those dumb scripts and spent two weeks adding a little complexity to it. It's the kind of movie in which, before a word is spoken, a shot is fired. Then some words are spoken -- "C'mon, let's get outta here." Then another shot is fired.
Alan Ladd is "Whispering" Smith, although, after an initial explanation of the queer cognomen, it's never mentioned again and Ladd becomes plain "Luke" or "Smith." He's a railroad troubleshooter sent to a town to figure out why there are so many accidents. His old friend, Preston, leads the gang that cleans up the messes and is somehow involved with the nefarious cattle baron, Crisp.
Crisp is badly miscast. He's not a duplicitous thief and murderer. He's somebody's earnest uncle. Ladd's acting is always criticized and it's true he didn't have much range. Yet he's handsome in an odd way, with his blond hair and black eyebrows and that resonant baritone. And when the role fitted his ligneous performance, the results were far better than average. As far as I know, they fitted together only once, in "Shane." Probably the best performance is by the loud and blustering Robert Preston as the good guy gone bad. He's got a black mustache and frowns a good deal, even when happy. Man, does he look evil. His character is also the most complex and he handles it very well. When Ladd takes him aside and asks, "Mind if I give you some advice," the scowling Preston replies, "No, just keep it funny." That's a nifty exchange. Unfortunately, it's about the only one in the movie.
It's too bad that except for the performers and the sometimes impressive location shooting, the movie sucks. It's not a total loss, as I say, not like one of the Three Mesquiteers movies. But it's as if the writers took one of those dumb scripts and spent two weeks adding a little complexity to it. It's the kind of movie in which, before a word is spoken, a shot is fired. Then some words are spoken -- "C'mon, let's get outta here." Then another shot is fired.
Alan Ladd is "Whispering" Smith, although, after an initial explanation of the queer cognomen, it's never mentioned again and Ladd becomes plain "Luke" or "Smith." He's a railroad troubleshooter sent to a town to figure out why there are so many accidents. His old friend, Preston, leads the gang that cleans up the messes and is somehow involved with the nefarious cattle baron, Crisp.
Crisp is badly miscast. He's not a duplicitous thief and murderer. He's somebody's earnest uncle. Ladd's acting is always criticized and it's true he didn't have much range. Yet he's handsome in an odd way, with his blond hair and black eyebrows and that resonant baritone. And when the role fitted his ligneous performance, the results were far better than average. As far as I know, they fitted together only once, in "Shane." Probably the best performance is by the loud and blustering Robert Preston as the good guy gone bad. He's got a black mustache and frowns a good deal, even when happy. Man, does he look evil. His character is also the most complex and he handles it very well. When Ladd takes him aside and asks, "Mind if I give you some advice," the scowling Preston replies, "No, just keep it funny." That's a nifty exchange. Unfortunately, it's about the only one in the movie.