The Redhead from Wyoming (1953) User Reviews

Decent western about a cattle war with Maureen O'Hara in the middle

[ma-cortes · 6/10 · 17 December 2022]

A nice Western stars a valiant female who uses the power and raw courage to vanquish difficulties , she's , of course, Maureen O'Hara. Cattle baron Reece Duncan (Alexander Scourby) is opposed by ambitious gambler Jim Averell (William Bishop) , both of whom compete for public lands and unbranded stray cattle. That's why Averell imports his old flame , shapely saloon queen Kate Maxwell (Maureen O'Hara) , and sets her up as an alternate cattle buyer against cattle king Reece Duncan. As matters build toward violence, igniting a range war , while Kate finds she's being taken advantage of . But her only potential ally in staving off carnage is seemingly mild-mannered sheriff Stan Blaine (Alex Nicol) who distrusts her. As she , subsequently , changes sides and will fight against her promoter , as he helps mistreated settlers . Queen of An Outlaw's Lair!

This is a moving western dealing with the ordinary conflict between freedom and the need for order and cattle settlements . An Universal International Picture set in Wyoming Territory , where a range war is brewing between entrenched cattle barons and new settlers. The picture regards interesting issues such as the economical abuses by powerful owners including violence , and the sexual resources that the beautiful lady , gorgeous Maureen O'Hara , using to get her purports . Nice and feisty acting by the great Maureen O'Hara as the sympathetic as well as brave Kate Maxwell who finds himself in the middle of a range war between greedy cattle barons and newcomer settlers . Acceptable picture , the film has agreeable messages dealing with an obstinate woman who fights for the rights of the cattlemen and based on mutual respect for independence of the Woman rather than submission to Man , as well as demonstrations of bravura and decision . Main and support cast are frankly good . Along with the always stunning Maureen O'Hara , there are several known actors and Western ordinary , such as : Alex Nicol , William Bishop , Robert Strauss who won Oscar award in Stalag 17, Alexander Scourby , Gregg Palmer , Jack Kelly , Dennis Weaver of McCloud , Stacy Harris , Fred Aldrich ,among others .

It contains a colorful and brilliant cinematography in CinemaScope and Technicolor by Winton C. Hoch , John Ford's regular cameraman . The motion picture was professionally directed by Lee Sholem. In a 40-year career, he directed upwards of 1300 shows, both features and TV episodes, without once going over schedule--a feat probably unparalleled in Hollywood history. Sholem started out in the cutting room some time in the 1930s. A lengthy association with "Tarzan" producer Sol Lesser brought him in contact with the celebrated William Cameron Menzies, from whom Sholem learned the key to expedient production, and later led to his first directorial assignment (Lesser's Tarzan and the magic fountain 1949). This filmmaker was a good artisan who made a large number of films about various genres such as Adventures : Tarzan and Magic Fountain, Tarzan and the slave, Hell Ship Mutiny, Ma Pa Kettle Waikiki , Jungle Man-eaters , The Louisiana Hussy , Western : Redhead of Wyoming , Río Apache, Terror : Pharaoh's Curse , SciFi : Superman and the Mole Men , Doonsday Machine , Tobor the great . In addition , he made several episodes of known TV series in the 50s and 60s such as : Adventures of Long John Silver, The Sheriff of Cochise, 77 Sunset Strip, Men into Space, Sugarfoot, Bronco, Cheyenne , Miami Undercover, Death Valley Days, Maverick, among others . The film will appeal to vintage western movies enthusiasts .

"Anything you take from me has lead coming after it".

[classicsoncall · 7/10 · 4 December 2010]

I guess I'm used to my Fifties B Westerns in glorious black and white. This one was just a bit too colorful, perhaps offered as a distraction from the idea that it was meant to be an A-list feature. Story wise, it's been said and done before, with open range men about to scrap with settlers over rustled cattle, with a would be politician (William Bishop as Jim Averell) thrown into the mix to stir up trouble. About the most interesting part of the story was the tutorial on how Averell's henchmen changed the Bar-Double-Check brand into the K-Bar-M, an effort that was repeated a second time to make sure we all got it. That, and the almost comical side view of Maureen O'Hara at one point in which her over ambitious figure is profiled to the point of caricature. She's wearing the yellow dress with the white top, but believe me, you won't miss it.

Alex Nicol is second billed here as the laconic sheriff Blaine, developing a romantic interest with O'Hara's character, but he just doesn't look the part. I wonder, could it be because his first name was Stan? What Western writer names his top gun Stan? Better to have left him just plain Blaine. Sorry, couldn't help it.

One interesting take away here is Dennis Weaver in an early role as one of the feisty Jessup Brothers. The other is the frequent, to the point of over use, of the term maverick to describe a steer without a brand on open range. If I didn't know better, I would think this one of John McCain's favorite Westerns.

Apart from the color film, it's completely ordinary...

[planktonrules · 5/10 · 22 March 2017]

During the 1930s, 40s and 50s (especially the 50s), Hollywood made a bazillion western films. Because they made so many, it's not surprising that there are several basic plots you'll find in about 95% of these movies. This one features two of these plots...plots that are really clichés because they occur so often. First, there is Jim Averell...a guy who wants to be more and more powerful. He's running for governor and has his eyes set on controlling the west. Second, he's making himself richer and richer by bringing in a gang of cutthroats and they spend their time rustling other folks' cattle. There is so much familiarity about these story elements...too much. Sure, Maureeen O'Hara is there and she looks nice in color but the film never seems more than just another mediocre western with little to distinguish it aside from having O'Hara involved in the big gunfight at the end. Ordinary...

Colorful O'Hara Tames Wyoming

[dglink · 7/10 · 19 April 2021]

In a routine western about simmering conflict between settlers and landed cattlemen in Wyoming Territory, dazzling red-headed Maureen O'Hara gives "The Redhead from Wyoming" a feminist slant. Amidst a cast of rather colorless cowboys, O'Hara cuts a striking figure; her flaming hair captured by Winton C. Hoch's Technicolor camera, blazes over her striking costumes, designed by Edward Stevenson. O'Hara catches every eye with bare shoulders exposed by flamboyant garments in lavenders and yellows that are in sharp contrast to the earth tones favored by her male co-stars.

Unfortunately, the leading men are as lacking in color as their costumes. Tall blonde Alex Nicol as Sheriff Stan Blaine displays little emotion, except when his eyes cast an appreciative glance at O'Hara's barely concealed decolletage. William Bishop is passable as the duplicitous Jim Averell, who has history with O'Hara's character, the tough Kate Maxwell. Most of the cast is comprised of relative unknowns with the exceptions of Robert Strauss and Dennis Weaver in small roles.

The undistinguished screenplay, which deals with cattle rustling and a potential range war, is unworthy of O'Hara's talent and screen presence; the fiery Irish actress plays a smart business woman, who can ride and shoot with the boys, yet maintain her femininity. Kate Maxwell may be ruthless, but she is no tomboy, and her wardrobe bears no resemblance to those worn by Joan Crawford or Barbara Stanwyck in their western roles. Kate is impeccably coiffed, made-up, and garbed, even when wielding a shotgun or riding a stallion. Other than an early portrayal of a strong woman in the Old West, "The Redhead from Wyoming" fails to rise above a fairly entertaining, if unmemorable, oater with an unforgettable star.

Red Meat

[tedg · 26 September 2004]

Spoilers herein.

I'm interested in the history of redheads in film. It is pretty remarkable, I think and one of the purest stereotypes - or collection of them - in all filmdom. That effectively means in all life.

Ms O'Hara had just made the film that defined her - and reinforced a specific type of redhead - in 'The Quiet Man,' with John Wayne. You know, the feisty, fiery, sexy, stubborn, furrowed brow Irish lass, capable even of physical anger.

Problem is that Maureen is a pretty unskilled actress. Other than the red hair and a torpedo bra, there isn't much there.

Here we see an exploitation of all that, in technicolor so that we can see the hair. And yes, we have rough ridin, shooten, stubbornness, and sexiness (at least so far as the code allowed). There are a few scenic shots as well. Other than that, its as empty as Wayne's head.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

Well the production on this is better than some.

[PatrynXX · 7/10 · 12 April 2020]

Just your standard western fare. Well acted. All the key elements are here, right down to the silly cover that isn't really in the movie. Oh and well the Redhead gets to show off that hair :O I was in a rash of buy Maureen movies most of the year in 2015 then bang. She was gone. Not cool. Then I didn't watch them for awhile. Got tons of On Demand dvd (r's) Not all of them westerns but why not have fun. Totally for kids too....

Quality: 6/10 Entertainment: 9/10 Re-playable: 6/10

Range War Western

[bkoganbing · 4/10 · 5 March 2015]

The Redhead From Wyoming casts Maureen O'Hara as a saloon mistress and cattle queen in the new state of Wyoming. Then as now Wyoming is a sparsely populated place and we've got ourselves a typical range war western in this flick.

There's a lot stray cattle in Wyoming and a guy can stake a claim, round up some mavericks and start a herd. Only the guy who got there ahead of everybody else is Alexander Scourby owner of the local Ponderosa. He's got an unofficial no trespass sign on unbranded cattle on his range.

Into this mix comes O'Hara and William Bishop. O'Hara comes to run the local saloon owned by Bishop. He also sets her up in the cattle business as well. But he's got an agenda all his own and I will say he dreams big.

Maureen O'Hara as The Quiet Man was opening to rave reviews was busy working on this film and she called it a 'stinkeroo' in her memoirs. But it's a matter of perspective, next to The Quiet Man it really is. But it's not a bad action western.

Possibly also she saw that William Bishop had the best role in the film by far. As I said he dreams real big, he's got the small ranchers on his side and he's not got their interest at heart. Bishop is slick and crafty with a good line of gab.

Nominal hero in the piece is Alex Nicol as the outsider sheriff caught in the middle. Nicol never really registers though as a strong hero, the part called for someone like Jimmy Stewart.

A couple of television western regulars had supporting roles here. Dennis Weaver plays one of the small ranchers and Jack Kelly plays Bishop's top gun hand. He has a nasty fight with Alex Nicol in the climax.

It's not a 'stinkeroo' as Maureen put it, but unless you're a fan of her's don't go out of your way to see it.

Provides little beyond some scenic effects.

[rsoonsa · 2/10 · 20 September 2002]

A voice-over opening, with Winston Hoch's outstanding camera-work of calf roping and branding on screen, is a promising beginning and describes the setting for this film in 1870s Wyoming Territory, aboil with open range cattle raising and rustling, stimulated by the Territory's Maverick Law which permitted settlers to brand calves as their own if they were not within the confines of deeded property. When the voice-over ends the scenario begins, and that is a pity as it is woeful, approaching unintentional pastiche of the genre, with a fast-moving series of scenes lacking development, motivation and narrative continuity helpful to a viewer. An obvious vehicle for the beautiful Maureen O'Hara, splendid in Technicolor with her flaming red hair and green eyes, the piece unfortunately places her acting shortcomings to the fore, although she does her own stunt work, as is her wont. Alex Nicol is miscast as a laconic sheriff and Alexander Scourby is a bit too elegant for his role as a principal landowner, but William Bishop makes something interesting of his part as the film's primary villain, although his dialogue is no more penetrating than that of any other cast member. The plot deploys O'Hara as Kate Maxwell, a dance hall diva who is set up as proprietress of a saloon by her former lover, Jim Averill (Bishop) so that he may utilize her place of business as a front for rustling cattle, whereupon Kate is rent by her dual attraction to Averill and to the sheriff, who is taking steps to oppose this criminal enterprise. Director Lee Sholem, a straight ahead sort, is not given to varying of moods within his pictures, and that is the case here, resulting in a cursory and literal reading of the puerile script. Edward Stevenson's costumes for O'Hara are striking and appropriate and master make-up artist Bud Westmore does not have his craftsmanship disturbed by her riding and shooting activity, which is of a piece with the others in the colorfully garbed cast, whose raiment is barely disturbed by violent goings-on; indeed, the players often appear to be about to launch into song and dance, turning this affair into a musical of sorts, which might have been an improvement. The film includes the debut of Jeanne Cooper and an early effort of Dennis Weaver, atypically portraying a hard case, and somehow Robert Strauss is included in this one, completely out of place. Despite crisp editing, REDHEAD seems to take a long while arriving at its predictable ending, and although the cast never seems the worse for wear from its exertions, the viewer certainly will be, during this motivationless attempt to cast light upon a significant segment of Western American history.

Touch of red... in glorious colour

[rose-294 · 8/10 · 10 June 2009]

Ah, the glamour and pure entertainment of Golden age Hollywood! Shapely saloon queen is caught in the middle of the Wyoming cattle war and between two men: suavely villainous gambler and distrusting sheriff hero. Red-haired Maureen O'Hara, the star of the picture among unknowns, and her dresses blaze in gorgeous 1950's Technicolor, and routine western shenanigans between cattle kings and new settlers are enjoyably went through. Script by Polly James and Herb Meadow is just an excuse to show beauty of O'Hara's heroine and her rosy cheeks, the scenery and glorious colours. Bad thing? No, not at all, on the contrary. Dennis Weaver, Sheriff McCloud from my childhood, has a minor role.

I Think They Spent Most Of The Budget On Miss O'Hara's Costumes

[boblipton · 5/10 · 19 December 2021]

This shaky A western stars Maureen O'Hara in a variety of fancy dresses. With a range war brewing, old flame William Bishop imports her and her wardrobe to serve as a beard for his operations when she isn't running her obligatory saloon. She's caught between Bishop and mild-mannered sheriff Alex Nicol.

Besides a very purple tuille number, Miss O'Hara wears a black lace dancing outfit for the final shootout, in which she handles a shotgun. I found it a striking and discordant image, typical of auteur Lee Sholem. A decent, if rote script, the usual cast that had been filling out B westerns for a quarter of a century, and some nice color photography by Winton Hoch complete the ensemble.

An Above-Average But Predictable Horse Opera with Fiery Maureen O'Hara

[zardoz-13 · 8/10 · 11 April 2010]

"Tarzan's Magic Fountain" director Lee Sholem's Technicolor western "The Redhead from Wyoming" qualifies as a thoroughly predictable but nevertheless entertaining, horse opera about a range war between trigger-happy cattlemen and homesteaders in the 1880s, with Maureen O'Hara at her fiery best. Indeed, Scholem's oater modified the Johnson County War which was immortalized later in the notorious, big-budget debacle "Heaven's Gate." Mind you, the 1929 and the 1946 versions of "The Virginian" and "The Ox-Bow Incident" (1943) dealt with the Johnson County War, too. "The Redhead from Wyoming" appropriates one real life participant James Averell as its villain here. Furthermore, Averell's conspirator is his girlfriend. Like Averell's real-life wife, both were accused of cattle rustling. The Maverick law, true-life, old West legislation, ignited the conflict. "Mrs. Parkington" scenarist Polly James, with an uncredited assist from Herb Meadow, who penned 1956 "Lone Ranger" movie, wrote the screenplay from her own story. The dialogue ripples with memorable lines. James and Meadow don't squander a melodramatic second sic-king the heroine, the sheriff, the cattle baron, and the villain at each other. Sholem orchestrates the action with unobtrusive aplomb. Lensed by three-time Oscar-winning cinematographer Winton Hoch of "She Wore a Yellow Ribbon," "The Redhead from Wyoming" bears a rough-hewn, frontier look despite being shot on the Universal Studios backlot. This medium budget oater boasts an adequate amount of gunplay during its larcenous, 81-minute running time.

"The Redhead from Wyoming" unfolds with the following narration that sets the stage for the showdown between both factions. "When the territories of the great west were thrown open, men of all kinds rushed in. Most came to settle peaceably, lured by free land, gold, cattle. A man could begin a herd with a maverick, an unbranded stray on the public range. By putting his brand on it, he owned it. The cattle barons had started their great herds with mavericks. Now, they fought each settler who tried to do the same. They fought to keep the settlers off the public lands, drive them from their homes, destroy their towns. Vast ranges became the battlegrounds of cattle wars. When the Wyoming big ranchers found guns were not enough, they used the Maverick Law, a law through which they appointed themselves commissioners with power to rule on the ownership of every maverick branded. A commissioner's ruling could declare the settle a rustler, outlaw his brand, make his mavericks illegal to sell. Of course, there was no shortage of sharp-witted men who were quick to take advantage of the law."

Sholem backs up the narration with action footage before he shifts the scene to the town square of Sweetwater, Wyoming, where city slicker clad Jim Averell (William Bishop of "The Walking Hills") campaigns for the high political office of governor. Watching from horseback on the fringe is big-time cattle baron, Reese Duncan (Brooklyn-born Alexander Scourby of "Affair in Trinidad"), and he doesn't like a word that Averell utters. "The Maverick Law," Averell avers, "was designed to protect us all against cattle rustling. There is nothing in the law that says new settlers can't pick up unbranded cattle and call them their own. When a cattle commission was appointed to watch over brands and cattle that was for our protection, too." Duncan has had enough of Averell's speech and blasts a hole in his city slicker's hat. Sweetwater Sheriff Stan Blaine (Alex Nicol of "Gunfighters of Casa Grande") fires his gun and calms down everybody. This scene opens up when our leading lady, Maureen O'Hara, arrives by stagecoach with a gaggle of other fancy saloon girls. Kate Maxwell (Maureen O'Hara of "The Quiet Man") learns she is a part of Averell's grand scheme to infuriate Reece Duncan.

Averell announces his plans to turn ownership of the saloon that he has been renovating over to Kate. Now, everybody can enjoy music, high-kick dancing, and "the straightest card game in Wyoming." Averell promises the homesteaders that they will have the bucks to blow, too. He adds with a dastardly gleam in his eyes, "Kate's a cattle buyer now. She aims to buy up every maverick you can lay a rope on. Kate's got her own brand, and not some outlaw brand. She'll market your mavericks for you and there's nothing that Duncan and his Cattlemen's Association can do about it." Kate is already suspicious. The last time that she saw Averell was "running out of Abilene like a jack rabbit" leaving her to hold the sack. Duncan rides up and warns Kate not to buy any of his cattle. "Anything you take from me has lead coming after it." As everybody disperses and Averell escorts Kate over to her saloon, they meet Blaine. Averell accounts for Blaine to Kate. "He's just a drifter. Doesn't make any trouble, doesn't want any." In the saloon, Averell draws Kate a sketch of her brand: K Bar M. Kate wonders if the world isn't coming to an end. "Not only is Jim Averell giving things away, but he's paying his debts." Indeed, Averell wants to woo Kate back into his arms. He explains if Reese Duncan is eliminated, he will become governor. Brags Averell: "I'm going to make the whole territory of Wyoming my own private range."

Meantime, the nefarious Averell incites anarchy. He hires his own desperadoes to rustle Duncan's livestock. Eventually, Kate learns the truth but is powerless. Kate and Blaine meet. He explains he started drifting at age 13 after his entire family died in a deadly range war. Kate takes a shine to him. She tries to warn Duncan about Averell. James and Meadow provide everybody with an interesting back story. This good, old-fashioned western is a treat, especially the big finale in Sweetwater as well as in the saloon with Kate, Averell, and Blaine shooting it out.

Maureen O'Hara rocks!

[PWNYCNY · 10/10 · 11 May 2014]

A great movie. It has it all: wonderful acting, an excellent script, great cinematography, and impeccable continuity. But most of all, it has, in great abundance, Maureen O'Hara. This is her movie, and carries the movie well. She is in almost every scene and dominates the movie. She is absolutely beautiful. But her looks are not the whole story. Her acting is superb. She projects both vulnerability and strength. Her character, Kate, is assertive, intelligent, honest and courageous. Kate takes charge in the story. When she has to ride a horse, she rides; when she has to defend herself, she defends herself; and when she is interested in a man, she is forthright yet modest. She is trusting but you can't double cross her and when she is wronged, she lets you know. The other cast are excellent too, especially William Bishop as the bad guy, Averell. Also, the movie effectively dramatizes the economic and social conditions that triggered the range wars in the West in the mid-nineteenth century. If one likes Maureen O'Hara and westerns with strong stories, then this movie is worth watching.

Maverick, where are you going

[jayraskin1 · 9/10 · 15 November 2009]

Okay, Maureen O'hara's dresses are over the top and half the cast in most scenes, seems to be thinking, "why is she wearing that". Still, the movie has some interesting qualities and good moments. First, we have a woman who not only looks pretty and sexy, but can ride fast, think and use a gun. The writer, Polly James, is probably responsible for the fact that we have an interesting and strong woman character in the lead, a refreshing change for a 1953 Western. Second, the film makes several references to Maverick. First Jeanne Cooper (36 years on the Guiding light soap opera later) gets called a maverick, then Maureen O'hara starts referring to Sheriff Stain Blaine as "Maverick". This was four years before the "Maverick" television series and probably this movie was an inspiration for it. William Bishop, as the heavy, Jim Averell, is a much more interesting character than the drifter Sheriff played by Alex Nicol. Bishop is also a better actor than Nicol. The plot twists are silly, but fun. For example, at one point, when you think there is going to be a battle between two gangs, the sheriff convinces everybody to throw their gun belts on a wagon. Surprisingly everybody does it. I just wondered how they were going to get the fifty or so gun belts redistributed back to their original owners when they left. There's some fun in watching Dennis Weaver (later "Gunsmoke" and "McCloud") in one of his earliest roles. He's fine. Also Jack Kelley who went on to play Bart Maverick in the television series is around in a slightly smaller part. Altogether, this is a rather pleasant 80 minutes. Maureen O'Hara, feminists and Western fans should especially enjoy it. Incidentally, costume designer, Edward Stevenson, went on to win an Oscar in 1960 for "the Facts of Life." He designed costumes for over 190 movies. Guess, everybody has an off-day.

This B western a real nice surprise ...

[happytrigger-64-390517 · 8/10 · 26 January 2016]

... thanks to a good story, a stunning cinematography (whooaahhoo Maureen's dresses in Technicolor), fast paced direction and editing (the fights are real tough like in movies directed by Anthony Mann, Ray Enright or Phil Karlson), and above all Maureen O'Hara surrounded by a good cast.

Maureen O'Hara is so sexy and her interpretation is always subtle, she shines in every scene. And the great surprise is that she can be as tough as a man. The perfect woman in Technicolor.

And the other success of that so entertaining western is the interpretation of William Bishop, one of my favorite actors in B movies (Thunderhoof, The Texas Rangers, The White Squaw, ... and that unknown noir crime Breakdown with terrific boxing sequences). Such an athletic silhouette and determined face. Each time I see a movie with William Bishop, I'm never disappointed.

Cattle Kate and Stalin: for and against each other

[weezeralfalfa · 9/10 · 24 March 2017]

That redhead is no deadhead, as Maureen O'Hara proves, in this entertaining range war drama. The screenplay is brilliant, providing a variety of shifting alliances to keep us guessing. Maureen's character, Cattle Kate(so nicknamed) is actually from Texas, not Wyoming, to which she has recently migrated, at the beckoning of the second most visible character: Jim Averell(William Bishop), whose historical namesake was married to Cattle Kate for a few years. He is a mysterious complex man with a Stalin complex. Stalin's game plan was to be a benchwarmer while the Fascist and non-fascist governments of Europe destroyed each other in warfare. Then, the USSR would roll over all of Europe with little effective opposition, with the arsenal they would build up in the meanwhile. Of course, the Germans upset his plan by overrunning most of Europe in record time and with minimal destruction.

Well, Averell tells Kate that his ambition is to become governor, and buy up most of Wyoming. Toward this goal, he sought to ally himself with the small ranchers against the big bully ranchers, who had seen to it that legislation was passed that favored them. Another part of his scheme is to incite a range war between The large and small ranchers, who would mutually destroy each other, and leave their ranches for him to pick over. Reece Duncan(Alexander Scourby)would represent the local big owners.

Clearly, Averell is a wealthy man, but the source of his wealth is not apparent. He seems to have lots of time to meddle in the affairs of the ranchers, without actually owning any cattle himself. He sets up Kate with a cattle buying business, as well as a saloon business to cater to her traditional employment, with the rational that they will probably marry eventually. But, actually he plans to use her toward his agenda. Yes, he's a snake! She, not he, takes the risk of being accused a cattle rustler, if her hands brand some mavericks that Duncan considers are his, or rustle somebody's branded cattle. He arranges for her branding logo to closely resemble that of Duncan's, so that it can be applied over Duncan's brands which are then hidden. Kate herself wouldn't approve of that, but her hands might be tempted.

An incident happens where Duncan's foreman is murdered on the range at night when some cattle go missing, and one of Kate's branding irons is found near his body. The cattlemen are of a mind to string her up, so she is put in jail, with several deputies as guards, partly for her safety. It seems awfully careless for one of Kate's hands to leave that branding iron as incriminating evidence. This mystery is resolved partly by facts and partly by logic.

I haven't yet mentioned Sheriff Blaine: recently appointed essentially by Averell, as meeting his specification of someone he thought would be malleable to his interests. Blaine's Texas family was wiped out in a range war, and he doesn't want to get involved in another, so he's thinking of resigning soon. Yet, he doesn't easily back down when confronted with a difficult problem. He hires a bunch of deputies when he thinks it's necessary.

Averell, Duncan, and Blain are all single, so which, if any, is Kate going to marry? Why do you think she made this choice? I'll let you view the film to find out(Film currently available cheaply as part of an 8 pack of westerns.) The real Averell apparently had no ambition to be governor nor own the whole of Wyoming. He and Kate were lynched together for supposedly rustling some cows. Probably, it depended on what all was included in the concept of rustling, as pointed out in this film.

Included is an obligatory cattle stampede, consisting of mavericks. Also, a huge, complicated, street brawl as the climax.

Of the main characters, Maureen and Bishop(as Averell) have plenty of charisma, which is lacking for Scourby(Duncan) and Nicol(Sheriff). That's not to say that these others weren't adequate in their roles. I think the picture would be much more popular if "name" actors had taken the place of the latter two. Also, a humorous sidekick, such as Andy Devine or Gabby Hays would have been nice.

Thank goodness it was shot in color, or we would have missed Maureen's flaming hair to match her tongue and action! For other good, but little known, color films that feature Maureen as a domineering wildcat, I recommend "Comanche Territory" and "Against All Flags", she being a pirate captain in the latter.

Excellent Maureen O'Hara B vehicle

[searchanddestroy-1 · 9/10 · 4 November 2022]

Colorful B western directed by a B director: Lee Sholem who was not that brilliant in his career. It is question here of cattle rustling, a topic used ten millions times in western history. It would be forgettable even with the presence of the Duke's best friend, as himself called Maureen O'Hara, the only woman belonging to the John Ford's gang: John Wayne, Ward Bond, Victor Mac Laglen, Harry Carey. Here she doesn't look like a man in her attitude, she is not Barbara Stanwyck in FORTY GUNS, CATTLE QUEEN OF MONTANA or MAVERICK QUEEN. It is nevertheless a pretty good little entertaining western, among the best films that Lee Sholem made, xanks again to Maureen O'Hara; but Rhonda Fleming - the other redhead from Hollywood with Arlene Dahl - would have been in her place here.