Mjeteconer Just perfect...

Matialth Good concept, poorly executed.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

JohnHowardReid Randolph Scott (Ned Britt), David Brian (Blair Lunsford), Phyllis Thaxter (Flora Talbot), Helena Carter (Amy Brooks), Dick Jones (Luther Wick), Ray Teal (Gabe Clevenger), Lawrence Tolan (Mort), Paul Picerni (Castro), Emerson Treacy (Ben Garvin), Bob Steele ("Shorty"), Walter Sande (Deputy Waller), Chubby Johnson (the sheriff), Don C. Harvey.Direction by EDWIN L. MARTIN. Written by John Twist. Photography by Sid Hickox. Art director: Stanley Fleischer. Film editor: Clarence Kolster. Sound by Oliver S. Garretson. Set decorator: G. W. Berntsen. Music by David Buttolph. Special effects by William McGann (director) and H.F. Koenekamp (photographer). Technicolor color consultant: Mitchell Kovaleski. Wardrobe by Marjorie Best. Make-up artist: Gordon Bau. Assistant director: Charles Hansen. R.C.A. Sound System. Produced by Anthony Veiller.Copyright 2 July 1951 by Warner Brothers Pictures Corp. New York opening at the Palace: 12 July 1951. U.S. release: 14 July 1951. U.K. release on the lower half of a double bill: 7 April 1952. Australian release: 26 December 1952. 7,232 feet. 80 minutes. Re-issue title: Texas EXPRESS.SYNOPSIS: Randolph Scott, once a famed gunfighter, decides to battle lawlessness as a frontier town newspaperman. Nearing Fort Worth, he meets Phyllis Thaxter, who is on her way to marry David Brian, a friend of Scott. In brawling Fort Worth, Scott learns that the town is menaced by the tactics of ruthless cattleman Ray Teal. Brian urges Scott to establish his newspaper there and fight Teal.COMMENT: Fleshed out with stock footage from "Dodge City" — all the railroad material, including the fire, and the cattle stampede — "Fort Worth" features Phyllis Kirk smiling inanely throughout. Unfortunately, the slow, talkative script actually provides little to smile about, even though it pegs in a fair amount of action, glumly perpetrated by Scott. David Brian grimaces suitably insanely, Helena Carter has a couple of brief scenes, Ray Teal appears properly villainous (with a very mild assist from Bob Steele).Marin is at his best in the action spots. The dialogue scenes are sometimes almost laughably composed of actors hitting the mark, rooted to the floor waiting for their cues. A fair amount of money was spent on the film all the same.The plot is easy to follow but makes little sense, thanks to one- dimensional characterizations and commonplace dialogue (with one or two bright lines: "Never pitch-fork the dead"; "Knew a woman worked on a newspaper once. Wrote the cookery column").Overall impression — routine.

oldblackandwhite Fort Worth is a well turned out Technicolor Western that packs a full load of action, colorful dialog, robust character studies, and engaging plot twists into 80 minutes of running time. The formidable entertainment value of this unpretentious B-plus oater gets a considerable boost from the charismatic screen presence of second lead David Brian. Tall, brawny, and blond, the steely-eyed, gravel-voiced Brian dominated virtually every picture he was in, and this one is no exception. Michael Curtiz once said that Randolph Scott was the only gentleman he had ever known in the movie business. It is to be hoped that top-billed Scott was a good sport during the filming of Ft. Worth, because Brian almost completely stole the spotlight as the swaggering empire builder who is the old friend, sometimes adversary, sometimes ally of crusading newspaperman Scott. The screen seems to simply come alive every time Brian steps in front of the camera. The dynamic Brian was the perfect foil for the mild-mannered Scott, and their alternately tense, cordial interaction is the great asset of this picture.But not the only one. A fine supporting cast is led by Ray Teal, as a smirking villain, and Phillis Thaxter, the wholesome love interest over whose affections Scott and Brian inevitably clash. Cinematography in gorgeous three-strip Technicolor by Sid Hickox, sets, and costumes all have a first rate look. John Twist's original screenplay is complex and intelligent. His colorful dialog is disarmingly amusing as his characters spout such rustic metaphors as, "You've knocked a hole in my fence all right, but you may tear your britches if you jump through it too quick!" and "Don't swing on the gate too long, or you may get a belly full of horns!" Edwin L. Marin's direction is tight and on target with nary a camera shot wasted. Marin made a career of turning out medium budget pictures, equally at home with Philo Vance mystery thrillers or Ann Sothern's light comedies. He turned to Westerns, for which he seemed to have a special touch, late in his career, beginning with John Wyane favorite Tall In The Saddle (1944). Two years later he directed Randolph Scott for the first time in the tough, "noirish" Western Abilene Town (1946), followed by a half-dozen more collaborations in the late 'forties and early fifties. Scott seemed at his best under Marin's guidance. Unfortnately Marin died suddenly in May 1951 after Fort Worth had been filmed but before its release.For my money Fort Worth, along with Abilene Town, is one of Scott's best Westerns, fast-paced, action-packed, dramatically engaging, beautifully filmed, entertaining from beginning to end. Not a classic, but a good one from the waning days of Old Hollywood's Golden Era.

herbqedi Fort Worth is fast-moving, well cast, well acted, and well executed all the way around. Scott actually has two different mentors, one Phyllis Thaxter's late father and the other a high-minded newspaperman who is knifed by a thug. He uses both of them to build and transition his character in a more layered performance than typical of the normally stoic Scott. Thaxter is terrific in every scene she's in, but better still is Brian as the magnate who persuades former boyhood friend Scott to stay in Fort Worth. He is part-villain and part-hero and extremely interesting and credible throughout. The plot is atypically complex with many threads all woven together well and wrapped up in a satisfying manner. Dick Moore (former child actor Dickie) is terrific as Scott's newspaperman who helps Scott keep alive the spirit of Ben, their mentor publisher. The thugs are all convincingly ruthless and interesting, including Ray Teal as the leader, supported by Bob Steele, Paul Picerni, and Michael TOlan among others. The color cinematography and production values are also first-rate and the pacing is perfect.If you enjoy Randolph Scott westerns, don't miss this superior entry.

zardoz-13 "Abilene Town" director Edwin L. Marin teamed up with Randolph Scott in the fourth of their seven westerns for the 80-minute, Technicolor, town-taming tale "Fort Worth," with David Brian as Scott's chief adversary Blair Lunsford. The bluff Brian cultivated a reputation in the 1950s playing splendidly-apparelled villains, and he goes face-to-face and bullet-to-bullet with our stalwart hero. Ray Teal, who achieved fame as Sheriff Roy Coffee on TV's "Bonanza," makes a memorable impression as unsavory second-string villain Gabe Clevenger. Actually, Clevenger is more interesting than Lunsford because the former proves to be such a scoundrel. "Colorado Territory" scenarist John Twist wrote some incisive and catchy dialogue for this oater; earlier, Twist penned two other Randolph Scott westerns, "Man Behind the Gun" and "Best of the Badmen." Scott's sturdy performance, succulent dialogue, and enough smoking gunplay qualify this as an adequate western that holds its own without breaking new ground. The use of interior sets for exterior sets detracts from its' overall production value."Fort Worth" opens with stock footage of a wagon train bound for San Antonio trundling past a scenic lake. Ned Britt (Randolph Scott) and his associates, veteran newspaperman Ben Garvin (Emerson Treacy of "Adam's Rib") and typesetter/reporter Luther Wicks (Dick Jones of "Rocky Mountain") are heading for San Antonio to set up shop. Britt and Garvin own a chain of newspapers in Kansas and have acquired a sterling reputation for themselves, even in the eyes of Clevenger and his hoodlums. Meanwhile, during the trip, Ned has befriended an orphaned urchin, Toby Nickerson (Pat Mitchell of "Northwest Territory"), that he treats as if he were his son. They go for rides on the prairie.A woman on horseback meets the wagon train in the middle of nowhere and receives permission to join it. Flora Talbot (Phyllis Thaxter of "The Breaking Point") is traveling back to Fort Worth. Once Flora falls in with the wagon train, she strikes up a conversation with another woman who is driving one of the wagons, and they provide important exposition about the larger-than-life hero—Ned Britt. According to Flora, Britt rode alone into Texas about 20 years ago. She points out that his only friend was his six-gun and it kept him alive and fed. Initially, Flora's description of Britt clashes with what the woman driving the wagon knows about him. She claims that Britt has nothing but contempt for firearms and believes that guns are only for heathens that cannot read. On the other hand, Flora remembers Britt as "a one-man arsenal" who rode off to join the Southern cavalry.Meanwhile, Ned and Toby ride double beyond the wagon train and spot a cattle herd bound for Dodge City; Gabe Clevenger (nefarious Ray Teal) owns this herd. Clevenger hates Britt, but he respects Britt as a man of integrity and he knows better than to make a martyr out of the newspaperman. Clevenger has no desire to play into Ned's hands by provoking him or any other 'quill pusher.' One of Clevenger's trigger-happy drovers, Happy Jack Harvey (Zon Murray of "The Great Plane Robbery") invades the wagon train and pulls his six-gun on Britt. Our hero warns the drover that a shot will stampede the herd. He fires a shot anyway and the herd overruns the camp and tramples helpless little Tobey. This recalls a similar urchin in the Errol Flynn oater "Dodge City" who had to die before law and order could be established. Toby's death pits Ned squarely against Gabe Clevenger, but it doesn't keep our hero from denouncing violence to settle violence. Says he,". . . the presses are a thousand times more potent than gunpowder." Predictably, Ned will change his mind and resort to the six-gun.Initially, Britt refuses to settle in Fort Worth, but Lunsford convinces him that the town has a future. Britt and he start out as friends, but their relationship changes as Lunsford reveals his true colors. First, unbeknownst to Britt, Lunsford stole his girlfriend, Amy Brooks (Helena Carter of "Kiss Tomorrow Goodbye") away from him during the Civil War when Lunsford took risks selling his beef to the South but turns a profit. Second,he has been secretly obtaining options for real estate from owners who cannot make their payments. Eventually, Britt and he wind up at odds with each other, though occasionally they team up to thwart Clevenger's gang. Inevitably, ranch lady Flora Talbot comes between them, but if you've seen enough of these sagebrushers, you'll know that Scott's Britt need not break a sweat about it. "Fort Worth" concerns Britt's use of a six-shooter to solve his problems. He doesn't like the idea of gunplay, but he resorts to it.The gunfight at the stockyard when the sheriff, his deputy, and Lunsford try to arrest Clevenger is the best thing about "Fort Worth." Shorty (Bob Steele) gets the drop on everybody with a rifle as Britt approaches the stockyard. Britt believes that the sheriff has Clevenger at gunpoint. Instead, things are the other way around. This is when Lunsford and Britt perform a feat that enables them to disarm themselves on orders from the badmen and sling their pistols to each other and then open fire on the villains. Clevenger and his cohorts scatter.Later, Ben Garvin is found murdered in his newspaper office with a knife stuck in his back. Ned straps on his six-guns, marches down the street and guns down three of Clevenger's henchmen without blinking an eye. Moreover, he violates the western hero's code of waiting until the villains clear leather before he draws on them! "Fort Worth" isn't anything sensational, but it is solidly virile.