TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Ava-Grace Willis Story: It's very simple but honestly that is fine.

Portia Hilton Blistering performances.

weezeralfalfa Highly romanticized take on the life of infamous killer on the southern plains John Westley Hardin, who is credited with killing between 27 and 42 men, most individually, some provoked, some not. While in prison for 17 years, he studied law and religion, and wrote his autobiography. Here, Rock Hudson portrays a largely fanciful Hardin. Well recognized character actor John McIntire plays his religion-obsessed, long bearded, father, as well as his Uncle John Clements, who much helps him.A young woman, Jane Brown, was an orphan, so was raised by the Hardins. She and John hoped to marry soon. However, she is accidentally killed in a gun battle outside the Hardin home. So, John soon develops a romantic relationship with a saloon entertainer: Rosie(Julie Adams) They move around quite a bit to avoid the law, before settling down on a ranch, where they get married and have a boy before John is caught by Texas Rangers. He's sentenced to 25 years in prison, of which he served only 17. When released, he meets his son, who has an unhealthy interest in guns and quick draws, the elder Hardin thinks. After an argument, young John rides to a saloon, with Hardin following him. An argument ensues and Hardin is badly wounded. But, unlike the real Hardin, he survives his wound to ride off into the sunset. For a time, Hardin has a bad relationship with the Hanley brothers, played by Lee Van Cleef(Dirk), Hugh O'Brian(Ike) and Glen Strange(Ben). Uncle John and his boys help Hardin in several scrapes with these men. In the film, Hardin claims he never shot a man who didn't threaten him first or deserve death. It's very doubtful this was true of the real Hardin, who once killed a man for snoring too loud(Well, he was quite drunk, as he apparently often was during his killings). For all his killing, his punishment was very light, only a long prison sentence. It's a wonder nobody shot him down long before it finally happened. This film makes him look like more of a victim than a perpetrator of gunplay, and probably overemphasizes his prowess as a gambler.

Steffi_P Many motion pictures work on two levels – the way they read and the way they look. This is especially true of B-movies in the 1950s, when the studios would buy any old pulp screenplay and allocate a minimal budget with recycled sets and costumes, and yet turn over total creative control to a seasoned and professional director who used to be a big shot. This was the situation with virtually every Raoul Walsh picture from this period. He'd long since had his day, and his bosses gave him little more than turkey-material to shoot, and yet he continued to imbue every picture with the intensity and romanticism that had always been his hallmark.The Lawless Breed supposedly chronicles the career of real-life outlaw John Wesley Hardin. It announces itself as the result of "new research", and just as they used to say in Police Squad, only the facts have been changed. Hardin's two love interests, the names of people he killed, the number of children he had, not to mention his general character are all completely made up. Writers William Alland and Bernard Gordon have essentially invented a fictional character and given him Hardin's name. But the point of this is not to tell it as it really happened – this is a classic Western after all. The point is to give you a picture of the Old West and a typical Western hero as posterity has remembered them.And this is what makes it the sort of project Walsh would really get his teeth into. For Walsh, there was romance and nostalgia in the open plain. Look at how he begins the picture with rather confined shots of the town, with foreground business and buildings bordering the frame. Then when we cut to Hardin's childhood we are hit with the beauty of the wide open spaces. As opposed to the yellows and browns of your average Technicolor horse opera, this is an abundantly green West, and Walsh seems to have worked closely with cinematographer Irving Glassberg and art directors Bernard Herzbrun and Richard Riedel to bring this tone to the fore. Green here represents freedom, hope and the good life, and it either covers the screen or retreats to a distant corner as appropriate, even worked in as a reminder during indoor scenes, such as the tree outside the window when he visits Jane by night. In his monochrome pictures Walsh would often use lighting to chart the hero's rise and fall (They Died with their Boots on (1941) is a good example), and here he uses colour to the same effect. The bold greens give a warm and homely feel to Hardin's cherished dream of a farm, and whenever he drifts away from that dream we turn to stark off-whites.In the leading role Rock Hudson is a middling success. He's just too steady and self-assured to convince as the young, hot-headed outlaw. On the other hand, he develops very well into the older and wiser Hardin, and as he would later show in Giant (1956) his forte seems to have been playing middle-aged. As is typical in a Walsh Western, the rest of the cast are an appropriately motley bunch, with no shortage of dusty faces and grizzly whiskers. Even though their performances aren't exactly outstanding, John McIntire hits the right notes in his dual role as Hardin's father and uncle, and Julie Adams is tough and unglamorous enough to portray both the saloon lass she starts out as and country wife she becomes. Also worth a mention is a young Lee Van Cleef, in one of his numerous third-baddie-on-the-left appearances before he became a big star in Italy. Although Hugh O'Brien is ostensibly the leader of the Hanley clan, it's clear Van Cleef's menacing presence was being noticed, as he is given all the most threatening lines and bits of macho business.There's no escaping the fact however that as written The Lawless Breed is a rather lacklustre affair. The dialogue throughout is either corny or simply dull. A set-piece like Hardin continuing to play cards after being given an hour to get out of town doesn't seem able to decide whether it is being played for tension or for laughs. And yet there is a precious handful of moments which Walsh has been able to stage with pure and compelling visuals, such as the confrontation with the Hanleys on a windswept street or the ageing hero's bittersweet return to his home and family, and these are absolutely stunning. And such is Walsh's devotion to the feel of the picture even the most boring of scenes looks nice and fits in with the tone of the whole piece. The story may be a poorly-written rough-shod ride over the truth, but in its imagery The Lawless Breed has a beauty that is engaging and sincere.

dougdoepke An okay Western based loosely on fact. Viewers tuning in today are likely catching up with Hudson's first starring role, following several years in supporting parts. Now, when I think Western, I've got to admit Hudson doesn't spring first to mind. Nonetheless, whatever he lacks in frontier grit, he makes up for in energetic commitment. I also suspect that he and Adams are the best-looking twosome to appear in any oater, any time any place. In fact, Adams sports the sleekest array of supposed frontier fashion that I've seen.The story itself is unexceptional and cheaply produced, never getting beyond LA area locations. Indeed, this may be the only Western where the indoors is more compelling to look at than the outdoors. The movie does come up with a bunch of up-and-coming supporting players, like Van Cleef, Weaver, Ansara—too bad they don't get more screen time. Then too, McIntire's unusual dual role, both with Old Testament beards, had me confused until I consulted IMDb. I expect there's a backstory to this duplicate casting. Producer Alland went from here to producing some of the most entertaining sci-fi of the decade— e.g. It Came from Outer Space (1953), Creature from the Black Lagoon (1954). I'm just sorry he didn't insist here on sticking with the original ending (thanks, reviewer bkoganbing). A happy ending may have pleased audiences of the time, but the original would have been more memorable.

alexandre michel liberman (tmwest) This film is part of the "Classic Western Roundup Vol. 1" released by Universal and it is quite a difference to see a film I had seen a long time ago on TV ,late at night, dubbed, and with faded colors. I can't think of anything more colorful than the Universal International westerns of the fifties and this DVD brings all those colors back. The director is Raoul Walsh, whose westerns were always above average. Rock Hudson is very good as J. Wesley Hardin, a man that could not keep out of trouble, so there is no lack of action here. Julie Adams is at her best, more sexy than usual. Only after I saw the credits did I notice John McIntire played a a dual role, the strict and often cruel father, and the good hearted uncle. It is wonderful to see Lee Van Cleef as the tough bad guy. For those who enjoyed the westerns of the fifties, this Universal release is a great experience. It is an unusual western, the story told from an outlaw's point of view, in flashback. When Hardin, wounded, is talking to his son, it reminded me of the last scene of "The Gunfighter"(1950). This film did not age.