Linkshoch Wonderful Movie

Actuakers One of my all time favorites.

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

Tobias Burrows It's easily one of the freshest, sharpest and most enjoyable films of this year.

Spikeopath The Gunfight at Dodge City is directed by Joseph M.Newman (This Island Earth/Fort Massacre) and jointly written by Martin Goldsmith and Daniel B. Ullman. It stars Joel McCrea, Julie Adams, John McIntire, Nancy Gates, Richard Anderson, Don Haggerty and James Westerfield. Hans J. Salter scores the music and Carl Guthrie is the cinematographer, with the production being in CinemaScope with colour by DeLuxe. Primary location shoot is Melody Ranch, Newhall, California, USA.McCrea stars as Bat Masterson, we find him originally in Hays City, Kansas, where he has set up shop, but after killing a man in self defence he heads to Dodge City to stay with his brother, Ed (Harry Lauter), who is the City Marshall. But upon arriving he finds that Dodge City is not a nice place, beset with lawlessness and run by corrupt sheriff Jim Reagan (Haggerty). After befriending the town doctor, Sam Tremaine (McIntire), and meeting Ed's fiancée Pauline (Adams), Bat buys a half share in the ailing Lady Gay Saloon run by Lily (Gates), herself struggling because of Reagan's interference. Bat sets about earning an honest living, but sheriff Reagan has no intention of letting either of the Masterson's flourish in Dodge: and just why is Dave Rudabaugh (Anderson) in town?Sometimes referred to as The Bat Masterson Story, The Gunfight at Dodge City is not a biography of the frontier lawman who once worked alongside Wyatt Earp. It does have some semblance of facts inked into the narrative, but ultimately view it as light telling of Bat Masterson's time in Dodge City. Running at just 81 minutes long, Newman's film has just enough character development, drama and period detail to sustain interest for that length of time. There's no attempt at histrionics or psychological depth, or even a message in the offering. This is a very stream-lined Western dealing in familiar B Western themes. But what it lacks in originality it makes up for with its all round production values.Although the CinemaScope is not used to the full (not enough exterior panoramas here, sadly), the film boasts some fine performances, wonderful colour lensing (night time shots are gorgeous) and that under valued asset of the Western, costuming (check out Lily's purple frock). McCrea obviously doesn't have the iconography that Randy Scott, James Stewart and The Duke have, but he quite often cuts an imposing, straight backed figure of note. Such as he does here, giving Masterson a rugged noble elegance in the process. Adams is beautiful and proves adept during the more tender moments and Gates, likewise, is hugely effective in portraying the nagging pangs of yearning. McIntire is nearly always good value, especially in official roles, and he adds a touch of quality here as the Doc who likes a drink and stoically stands by Bat's side when he needs support. Haggerty is a touch weak, not really exuding menace, but that's offset quite some by Anderson's suspicious and sneaky portrayal of Rudabaugh. All told it's just a real safe B Western with good production value into the bargain. 7/10

Patricia Hammond I enjoyed this. It provides everything one expects from a Western: good plot, revenge, love, conflict between law and personal conscience, plenty of gun-play, and mood. And a few excellent quotes. Try: "The distance between here and that street is the distance between a rabbit and a man." The beginning is refreshing too. Before the title and opening credits, a world-weary McCrea is telling a simple teenage boy who admires his prowess with a gun what it really is like. How scared one is, how little it has to do with heroics, and how awfully wretched one feels afterwards. In this film, the gunfights are fast, and mostly in the dark. That's probably more accurate than so many more overblown sequences in other films. The performances on everyone's part, even the baddies', are in many ways unexpectedly subtle. Take Regan, the bad Sheriff. Look at his strange, tormented eyes. None of it's overplayed. If it's raining outside, get out the popcorn and curl up with this.

Panamint Technically well-made, first-class production values, viewed wide-screen it is impressive. As a legitimate effort from the grand days of the Western film, it doesn't deserve its near-forgotten status. However, despite good acting by McCrea and especially by Julia Adams this movie suffers from being a bit too formula overall and too superficial in its psychological aspects.The way Masterson rides back to town in the end and faces everything is very manly and should have more impact. McCrea was certainly an actor capable of delivering such an impact. But the director has made this with a glossed-over style as if he is just skimming the surface, rather than with cinematic impact in mind. See the classic "High Noon" for such an ending done more effectively.Many psychological westerns are successful, however this one has so little psychological conflict between the protagonists (Masterson and the first Sheriff) that the result is merely a formulaic western punch-out relationship between the good guys and bad guys.Julia Adams delivers a fine acting performance. She and McCrea do a great job. Their performances are really the chief reasons for you to watch this. McCrea was a subtle and effective actor, and here he foreshadows his work in the legendary "Ride The High Country" a few years later.

Mister-UHF Absent from this film are Wyatt Earp, Masterson's close friend and colleague in Dodge City, and Masterson's dapper clothing, a lifelong trademark, two major flaws in the film. His avoidance of public office doesn't ring true, either. The plot itself takes considerable liberties with the truth. (The television series "Bat Masterson" was closer to the truth in spirit and sometimes in fact.)However, McCrea's intelligent and introspective portrayal of Masterson is on the mark. The acting of him and the rest of the cast carry the film, which is saddled with uninspired direction.