ThiefHott Too much of everything

Stevecorp Don't listen to the negative reviews

Reptileenbu Did you people see the same film I saw?

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

sandcrab277 Some studio exec told ladd he was box office material at 5.5 ft .... my boots and stetson stand that tall ... this film is okay with a few exceptions ... robert preston is way too prolific to be paired with ladd, for that matter so is everyone else ... i watched for curiosity's sake and finally gave up ... for long time close friends, the axe to grind over brenda marshall was too far fetched for me to believe of a stoic like ladd .... it may be a classic in some minds but it was a slap in the face for ladd

JohnHowardReid Copyright 18 February 1949 by Paramount Pictures, Inc. U.S. release: 9 December 1948. New York opening at the Paramount: 14 February 1949. U.K. release: 4 April 1949. 88 minutes. COMMENT: Third re-make of Frank Hamilton Spearman's 1906 novel about a railroad detective has a considerable cult reputation that in my opinion is not wholly deserved. For one thing, I'm not altogether happy with Alan Ladd as Whispering Smith. H.B. Warner in George Melford's 1926 version sounds much more like Spearman's charismatic hero. Nonetheless, the studio has not spared the cash and this version is certainly a colorful period piece and it has been handsomely represented on Universal's DVD. If Ladd is not quite the "Whispering Smith" of the villains' nightmares, the rest of the players are ideally cast. Full marks to Preston and Crisp, but even the smallest bits are just perfect.

Robert J. Maxwell 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.

classicsoncall Alan Ladd portrays railroad cop Luke 'Whispering' Smith in a starring role that probably got him noticed for the character of Shane a few years later, a favorite Western of mine as well as many others. The low key approach worked better in the latter film, where Ladd's character wasn't looking for trouble once he hung up his holster. As a troubleshooter for the Nebraska & Pacific Railroad, you would think Smith would be a bit more flamboyant, but that's not the title of the story. The significance of his name is dealt with in an early scene just before he makes his first appearance, as the old time railroad hands describe his legendary-like status.The picture gives us the classic, though formulaic love triangle that's a staple of many genres, this time with Smith and his best friend Murray Sinclair (Robert Preston) and Murray's wife Marian (Brenda Marshall). The viewer immediately connects with the unspoken relationship between Smith and Marian, and that dynamic stays center stage throughout the picture. Over the course of the story, Murray gradually transforms from a successful rancher and railroad foreman into outright villainy after being fired for essentially looting crates of goods from a planned train wreck.I think this is the first time I've seen Donald Crisp as an outlaw. It's a tribute to his ability as an actor that he pulls it off rather successfully. However the baddie to keep your eye on here is Frank Faylen as the creepy Rebstock henchman Whitey Du Sang. You could have knocked me over with a feather when I finally realized that he also portrayed Dwayne Hickman's dad in 'The Many Loves of Dobie Gillis'. I don't think I've seen him in any other Westerns, which is too bad because he's got that great Klaus Kinski thing going for him and he looks just plain bada--, if you know what I mean.The picture also confirms something for me that I think about every time I see him. Whenever you need a snake oil salesman for a Western flick, the guy to call on is Earle Hodgins. He's on screen here for only a few seconds, and you don't even get to see his face real clearly, but he's right there in the credits to make it official. The role could have been done by anybody, but I guess back in the day, if you're in the film business and you need a character actor to peddle Cherokee Indian Snake Oil, only Earle Hodgins can do it.Well, not to get sidetracked here, the film resolves about the way you would expect it to. The kicker for me was seeing Alan Ladd in your traditional Randolph Scott outfit (all black) for the final showdown. My only question however, would be how did Smith and partner Bill Dansing (William Demarest) get back to the Sinclair house so quickly? It's like they teleported over into the barn because it was only a matter of seconds before they left and were right back again! The only other characters I've ever seen who could do that with time to spare are Tonto and Lash LaRue. Amazing.The end of the story leaves some wiggle room as to what would happen next, but as the viewer, you'll have to decide for yourself. Happy ending fans will no doubt expect Whispering Smith to hook up with his former sweetheart, but that will have to be your call.