Last Train from Gun Hill (1959) User Reviews

Two Great Stars In A Great Western

[jpdoherty · 8/10 · 2 September 2009]

Paramount's LAST TRAIN FROM GUN HILL (1959) is one of Hollywood's great fifties westerns! Perhaps never reaching the lofty heights of such cinema triumphs as "The Searchers", "Shane" or "High Noon" it nevertheless remains a sturdy, stalwart and generally well admired example of the genre! From a lively story by Les Crutchfield it was fashioned into a fine screenplay by James Poe and expertly directed by John Sturges. It was also something of a coup having two heavyweight stars of the period like Kirk Douglas and Anthony Quinn playing the central roles. This not only guaranteed a constant jingle at the box office but was a delight to western fans too. Although they had been paired together three years before in MGM's "Lust For Life" ( the prestigious biopic of Van Gogh which brought Quinn a Best Supporting Actor Oscar for his portrayal of Gauguin) here the two actors appear to be much more at home and vastly more appealing in their western setting. Produced by Hal Wallis (in association with Douglas' own Bryna Productions) it was beautifully photographed in VistaVision and Technicolor by Charles Lang Jr.

Douglas is Marshal Matt Morgan who arrives in the town of Gun Hill to find the man who raped and murdered his Indian wife. Sparks really start to fly when he discovers the culprit (Earl Holliman) is the son of his best friend Craig Beldon (Quinn). Knife edge tension follows, and for much of the movie, when inadvertently (and with a great deal of luck) Morgan manages to arrest young Beldon and hold him in a hotel room with the intention of taking him back in six hours time on the last train from Gun Hill. In the meantime Craig Beldon with 20 of his men surround the hotel. He must prevent Morgan from carrying out his plan at all costs and makes effort after effort to extract his son from Morgan's grasp. The picture ends with the once close friends squaring up to each other in a climactic and inevitable fateful shootout.

With more than a nod to Delmer Daves' "3.10 To Yuma" (the real one made in 1957) LAST TRAIN FROM GUN HILL is a splendid well structured dramatic western with equally splendid performances from Douglas and Quinn. The supporting cast are good too! Besides Earl Holliman there is the charismatic Brad Dexter as Beldon's foreman, Bing Russell (Kurt's dad) as his second in charge, Val Avery as the barman and Carolyn Jones as Quinn's reluctant lover. Adding greatly to this taut western drama is Dimitri Tiomkin's outstanding music. The main title under the credits is a brilliantly conceived rhythmic Mexican invention. With snarling Mariachi trumpets, staccato clipped percussion and biting strings the composer never wrote a finer main title for a western! But as with his previous score for Sturges' "Gunfight At The OK Corral" (1956) it has unfortunately never been preserved on a recording!

LAST TRAIN FROM GUN HILL is nicely presented on a DVD with good colour resolution and sharp and clear imagery but as is Paramount's wont there are no extras whatsoever - not even a trailer which I find to be doctrinaire!

A great , underrated classic western

[tbirdman-1 · 7/10 · 10 May 2006]

I just saw this film recently on cable and was reminded of how well made it was. I'm a fan of the late director John Sturges' work and I own both "The Magnificent Seven" & "The Great Escape" on DVD. "Last Train from Gun Hill" does'nt get the same mention along with the well deserved recognition of these other films of the director. I'd rank it among the best classic westerns of the 50's & 60's period of great Hollywood movies. The story benefits from starring two great actors in Kirk Douglas and the late Anthony Quinn. Earl Holliman showed great promise in an early role as the spoiled rotten son of Mr. Belden. I'm surprised that he did not become a bigger star as a character actor throughout his career. And the late Carolyn Jones turned in a strong performance too as Linda. Definitely up there in the same ranking of great classic westerns and one of the best efforts of John Sturges. I will buy this DVD as well to add to my movie library! Lorenzo the tbirdman

a very fine western in due to its mounting complex look at justice and star power

[Quinoa1984 · 8/10 · 26 August 2007]

Last Train from Gun Hill has the star power to help back up a storyline that is, on the surface, seemingly too straightforward: a Marshall (Kirk Douglas) finds that his wife has been killed. When he finds out that it is the son of a cattle baron (Anthony Quinn), despite his old friendship with the baron, he decides to bring the son to justice, holding him by gunpoint in the town hotel until the train comes to take them off to jail- while the baron has his men outside with their guns poised. There's a touchy element to who the son (played as a snidely little kid in Earl Holliman) killed, which was that the Marshall's wife was a Native American. But more impressive in the script, and through John Sturges's steadfast professionalism, is how there's the tension between law and the personal, the immediate draw of a gun draw to solve anything, and the bitterness of real vengeance (watch Douglas's Marshall tell Rick about how he'll be the only one to hear his own brain cry out as he hangs dying, perfectly acted).

Although it's likely that Douglas and Sturges were in or made better westerns, this is the kind of work that doesn't age in much a way that cheapens the questions poised or the invigorating style. It's a fairly violent film too, with a couple of deaths by the train tracks at night all the more effective from the taunting build-up and the pay-off in one shotgun fired off, and always the threat much more tension-filled than the result. Granted, when a big fire ends up happening, it looks very much like it's on a sound-stage and without a whole lot of suspense (save for the typical but strong 'who will get the gun first' moment between the Marshall and Rick in the bedroom), but it's the ambiance of the characters, the dread over this dangerous mix of volatile father and townsman- a better than average Quinn without being too hammy- and a good man driven to vengeance in bad-ass Douglas, and the determined woman (Carolyn Jones) that makes it so compelling. There's even a slight feeling of unpredictability in the situation- in a town where reputation trumps what is good and decent, but also where emotions run high as can be, the stakes are high for chance.

By the very end it feels like it should be more formulaic, and there are bits where the dialog does come off as brawny ol' western genre jargon (look simply at some of the quotes on the IMDb page as example). But if you happen to come across it on TV one Sunday afternoon, as I did, it's worth the time to sit and get absorbed by a well done star vehicle.

An Underrated Classic

[terenceallen · 24 June 2004]

John Sturges a number of the best movies ever made - The Great Escape, The Gunfight at O.K. Corral, the Magnificent Seven, and here is a great movie he made that doesn't get mentioned with the all-time greats as it should.

Kirk Douglas is outstanding as the uncompromising sheriff on a mission of revenge when his Native American wife is killed by the spoiled son of a lifelong friend. Anthony Quinn is excellent as the hardbitten rancher who respects Douglas' character more than anybody (and whose life he saved in their youth), but who behaves one as a protective father, and two as a man who is rich and powerful, and used to getting what he wants. Carolyn Jones is also great as a woman caught in the middle of the two men.

No cop-outs, no easily resolutions. Just a great movie with a great cast.

You're leaving' on the next train. I own the sheriff! I own this town! I own every man in it! You're leaving' on the next train, Matt!

[hitchcockthelegend · 7/10 · 8 December 2009]

Matt Morgan (Kirk Douglas) and Craig Belden (Anthony Quinn) are old friends who went on different career paths. Morgan is a law man, settled down with his Indian wife and had a son. Belden is a cattle baron and self appointed ruler of the town of Gun Hill. When Morgan's wife is raped and murdered, he follows the only clue available to him; one of Belden's saddles. At first he hopes that Belden's saddle had been stolen, but he quickly finds that the horrendous crime has been committed by Rick (Earl Holliman), Belden's son. But upon arresting Rick, Morgan finds that Belden, and the town under his control, except Belden's on off gal, Linda (Carolyn Jones), are not keen to let him leave on the Last Train From Gun Hill.

Directed by John Sturges (The Magnificent Seven), Last Train From Gun Hill is adapted by James Poe (Cat on a Hot Tin Roof) from a story written by Les Crutchfield. Photography is by Charles Lang and the score is provided by Dimitri Tiomkin.

The first thing that springs to mind upon completing a viewing of this film; is that the tale has been dealt with far better in the Western genre before. Thus Sturges' film holds no surprises at all. Only two years prior we had had the infinitely superior Delmer Daves piece, 3:10 To Yuma. However, if a story has good thematics, then why not take another wander down a well trodden moody path? Indeed, and Sturges' film is nicely constructed pretty much across the board. With its blend of psychological undertones and action, helped by the mostly impressive cast, it ends up being an entertaining Oater. This in spite of not going a little darker when perhaps it should have. In fact, Sturges, a fine director for sure, is possibly too aware of keeping the film sprightly for a general wide appeal audience, something that can also be said about Tiomkin's score. It's a bit distracting when a tension mounting sequence is scored with funky uplift music! While Lang's photography is interesting, in a good way, using nice long shots in his scorched landscape exteriors.

It's been done better, but none the less it is recommended for those genre fans who like a brave man determined to succeed against overwhelming odds. 7/10

Rock solid classic Western.

[addicott · 9/10 · 28 April 2008]

This movie took me by surprise as one of the more effective revenge capers I've seen in quite awhile. It's really much more than a simple revenge movie, but it opens with an offense so outrageous, one could never rest without seeing the scoundrel put to justice. That seems like a very unlikely prospect for most of the film's running length.

The central theme is the classic Western notion of one man representing pure good stubbornly standing fast against overwhelming odds. Last Train combines the brainy suspense of 3:10 to Yuma and the provocative paranoia of High Noon, with a healthy serving of melodrama.

Kirk Douglas may not be as prominent as John Wayne or Clint Eastwood but his work here equals their best. He is extremely grim and convincing as the mightily offended protagonist. Anthony Quinn maintains his usual formidable presence as the heavyweight opponent.

If you're exploring the great Westerns or just looking for a good suspense thriller, this one is excellent.

Battle of wits between two exceptional actors : Douglas and Quinn under expert direction by Sturges

[ma-cortes · 7/10 · 9 July 2007]

This turbulent adventure-drama is set against the rich,violent tapestry of Gun Hill.All the vast grandeur of the Southwest shown as never before possible with the greatness,the glory,the fury story of the untamed town.It's an exciting drama-vengeance with all the thrill and action of the Old West.It begins when the spouse of Sheriff Matt Morgan(Kirk Douglas)is raped and killed.Staunch Morgan aware the clue left, a signed saddle that belongs to Craig Belden(Anthony Quinn), an old partner but is nowadays a cattle baron in Gun Hill.Belden recognises his own son Rick(Earl Holliman)like one of the killers whom he refuse to hand over.Each owed the other his life and this was the moment of reckoning.The son is a captive hostage by obstinate Morgan at the mercy of the West's most notorious marshal-revenger.The sheriff living by the old rules-driven by vendetta-dueling to the death for have justice.He's surrounded in the town of the desperate and the damned ,where the baron cattle and the fastest gun owned everything.Morgan is determined to leave the town with murder suspect Rick and every single beating second the tension grows greater.

This is a magnificent Western with a trigger-taut drama of the strangest friendship and posterior confrontation between a West's most upright lawman and its deadliest baron cattle.A story enormous in scope and unusual in concept.It's incomparably played by the greatest who ever into action : Kirk Douglas with a first rate performance though sometimes overdone and excessive melodramatic inclination and Anthony Quinn also gives a fine acting,they were two towering box office stars of the time.Besides extraordinary support cast,Earl Holliman as the son,he was one of the ¨sons of Katie Elder¨;Brad Dexter as Belden's hoodlum,he was one of the¨Magnificent seven¨ ; Brian G. Hutton,as the son's companion ,posteriorly become successful director with¨The Kelly's heroes and When the eagles dare¨.It's filmed in glimmer Technicolor and Vistavision by Charles Lang.Evocative and appropriate musical score by the classic Dimitri Tiomkin.Dalton Trumbo wrote the script,the original story and signed by an inexistent Les Crutchfield but he was in the black list.The movie is produced by Hal Wallis,Paul Nathan and Bryna production,owner by Kirk Douglas.The motion picture is magnificently directed By John Sturges,author of various classic Western:Escape from Fort Bravo,Gunfight at the OK Corral,The law and Jake Wade,Magnificent seven, among others.

Make the Extraordinarily Suspenseful visit to "Gun Hill"

[wes-connors · 9/10 · 26 August 2007]

Don't miss the beginning of this film. Not only is it essential to the whole picture, but it is also a great example of how a filmmaker can show a brutal crime without showing the details on-screen. In the opening, a brutal rape and murder occur; director John Sturges and the performers relay very effectively what happens, it's the horror in your mind.

Kirk Douglas stars, and he is riveting. My favorite of Mr. Douglas' scenes is when he describes a hanging to Earl Holliman - it's an "award-worthy" performance; but won none or few, no doubt. The others all perform amicably, too. After Douglas goes to Gun Hill, he sees old friend Anthony Quinn… watch how Douglas and Mr. Quinn play their first scene and you'll see how good these two actors are.

You always have to suspend disbelief in film watching, and a western is a little different. Westerns have their own world, which you accept, or don't. I could not really accept Mr. Quinn and Earl Holliman as father and son, at first. I think it could have been helped if Quinn had done something different with his hair; he never seemed concerned about thinning or gray hair, so I can't fathom the hair… it made him look younger than usual. After the movie went on, I decided to just accept that like I accept the rules you accept when you watch a western.

Besides, Quinn and Holliman are far to good to replace. Then, add Carolyn Jones... Now, I figured, at first, she would have the standard "look pretty and kiss the hero" role -- but, that was not so; actually, she was given a real good part and had a chance to perform a meaningful acting role. Ms. Jones showed she should have been given more good film roles.

So many westerns try build this suspense -- "Last Train from Gun Hill" should have you shaking in your cowboy boots.

********* Last Train from Gun Hill (1959) John Sturges ~ Kirk Douglas, Anthony Quinn, Carolyn Jones, Earl Holliman

An Old and Competent Western

[gazineo-1 · 7/10 · 29 October 2002]

Tense, gripping western where a marshall (Douglas) tries to arrest the killer of his Indian Wife. One problem: this killer is the son of a very powerful man (Quinn) who happens to be a very old time friend of the sheriff. Compelling screenplay gets the attencion of the watchers all along. A little predictable, maybe, but even though a fine example of the golden years of American western. I give this a 7 (seven).

John Sturges Classic

[rmahaney4 · 9/10 · 13 February 2002]

In Last Train From Gunhill, there is no possibility of compromise between the characters, no easy resolution:

Craig Beldon (Anthony Quinn): `This is my son you're talking about.'

Matt Morgan (Kirk Douglas): `No, Craig. It's my wife we're talking about.'

Thankfully, the filmmakers did not choose to cheat the audience and followed through to the end.

This is an excellent and long underrated film that stands next to 3:10 to Yuma (which this film is very similar to, even sharing plots) and Shane as the best westerns of the 1950s. It is the darkest of all the physiological westerns of the time, and the startling opening to the film leaves these characters in this situation with no way out, no escape. There can be no happy ending to this film. Also, none of the other films of this type, the `noir' or `siege' westerns, included so many of the difficult realities of racism, class and political power, and domestic violence and how these realities complicate friendship, love, and society.

The characters of Morgan and Beldon are studies in contrast. Both rode together years before on the wrong side of the law, Beldon saving Morgan's life at one point. However, in their years apart they had developed very differently. Morgan has become a marshal in a small town, Pauly, whose wild past he helped to end. In his first scene he describes a gunfight that took place there eight years before to a group of boys. All the boys were born after the gunfight, after the town had settled down and become `civilized.' Morgan travels using the train or a buckboard, his outfit resembles a business suit and he even wears a (bola) tie. When his wife, a Cherokee woman, is raped and murdered, he swears to kill the culprits but here enters one of the complications in this film, one of the many that make it so interesting. Morgan is not simply a typical, heroic figure defending justice and order (like Cooper in High Noon), though he does represent these ideals. His use of the law is not simply an altruistic faith it's correctness but, in this case, is his chosen instrument of vengeance. He is going to Gunhill to capture the men responsible for his wife's death, men he will bring back to Pauly and, using the courts, the jury, and the scaffold, will kill them. In the movie's most chilling scene, Morgan describes to one of the handcuffed killers what it will be like when he is hung, enjoying the impact of his words on the man. While he gloats the viewer remembers that he is a good man, a father, marshall, a man you might know and would respect.

Beldon is a rancher who has `sewed up this entire country' and owns the town, `even the town council' and the sheriff. His values are masculine, he is always surrounded by men – his son and his ranch hands – and his wife is long dead. He thoroughly dominates his surroundings, his town. He can be incredibly generous to his few friends, incredibly demanding of his son, his lover, and his town. In Gunhill, he is the law, while Morgan only represents it.

Linda, Beldon's lover, returns to Gunhill on the same train that brings Morgan to town. She is returning from a hospital after Beldon had beat her:

Linda: `When he tells you dirty, lying stories about me, why do you believe him? Why don't you for once believe me?'

Beldon: `Because he's my son.'

She is only person in the town that will help Morgan, though her reasons are complex: sympathy, revenge against the son, an attempt to hurt the man she loves, the man that hurts her, that chooses to believe the lies of his son because they are his son's lies. Also, she is the only person in the town that will allow herself to feel the horror of the rape, murder, and siege. I find the attitudes and actions of the townspeople in this film more believable than that of those in High Noon. Here the town is unfeeling and hard, frightened about what would happen if they ever allowed themselves to empathize with the weak, rebel against Beldon. They mock Morgan with racist statements that denigrate his wife because it is easier for them to believe that she was "only an Indian", that her death really didn't matter, that her suffering was irrelevant.

The reason the film succeeds, in the end, is that it makes all of these flawed characters sympathetic and understandable. If they could avoid the conflict, they would. Unfortunately, the situation will not allow it.

The other characters are well drawn too, including the sheriff who insists on `taking the long view'; the viscous son Rick who the viewer cannot help but feel some sympathy for because he is so dominated by the father, swept along in his wake; and the reckless ranchhand Lee, who is loyal to the son and not the father.

The acting is great all around, particularly from Carolyn Jones, Quinn, and Douglas, the pairing of which was excellent. Both performances are intense and explosive, as is the film. Poe's script is excellent and Tiomkin provides a good score.

There have only been a few westerns since 1959 that have matched the complexity and substance of Last Train: Once Upon A Time In The West, The Great Silence, McCabe and Mrs. Miller, and Unforgiven. All of these films exploit the genre's tragic possibilities to the fullest and all are unforgettable. When I think of these films the eyes of Trintignant in the final scene of The Great Silence come to mind, or the way, in this film, that Douglas yells the name of his wife or Quinn, at the train station, yells that of his son. It is amazing that in the most popular and industrial of art forms, in the most basic of all genres, could be created films of such beauty and power.

good start, but loses energy

[rupie · 6/10 · 24 July 2000]

This movie immediately grabs one's attention, with the premise of revenge by Morgan/Douglas for the brutal rape/murder of his Indian wife. However, after his bold foray into his nemesis' territory, and his capture of the perpetrator, the movie bogs down and treads water during the long period that he & his captive are holed up in the hotel room. Further, some questions strain credibility: why would Morgan go alone to Gun Hill, rather than with a posse? why is a shotgun so essential to his plan (the plan would have worked just as well with the pistol he had)? And the resolution is just too contrived. Having said that, Douglas and Quinn turn in fine performances and the movie is nicely photographed.

Excellent classic western with too little attention

[keuhkokala · 9/10 · 22 January 2006]

Some say Rio Bravo, some the Searchers, some Shane for some reason. Everyone has an opinion about what the greatest 'classic' western (before the '60s when Leone and Peckinpah broke the old myths) is. I would have said High Noon for a while ago. Then I was home last evening, at a very cold and snowy winter day. I thought to look at a movie from TV and didn't care much what they were showing. It happened to be this masterpiece. And I was awe-struck.

The story tells about a sheriff (Kirk Douglas), whose Indian wife and a mother to his child is raped and murdered. He goes on to find the men who did it to the town of Gun Hill and finds out that the other of the men is the son of his old friend (Anthony Quinn). He has in time become the most powerful man of Gun Hill and won't let his son to be taken to the court for his actions.

This is a quite daring one for a fifties western. There's some blood and nudity here. And most of all, the sides aren't black and white, but rather shades of gray. The movie's most potent message is that you can't take a life, even a criminal, because there will be people who were close to him and his death will hurt them worse. Every life is valuable.

Kirk Douglas is good in the lead role. He bottles most of his emotions in, as probably anyone in his situation would. Better is Anthony Quinn, who essentially has to decide between his son and his best friend. He portrays anger, fear, anxiety and hopelessness great.

This became my favorite classic western. it's not Once Upon a Time in the West, but I loved to see so mature themes in such an old movie. It looks great too, they had wonderful set builders then.

***** The Best Part: The showdown at the Gun Hill railway station

Kirk & Tony are Tense!

[shepardjessica · 6/10 · 7 August 2004]

A decent late 1950's revenge tale in the Old West concerning two old buddies (one of whom has a scumbag rapist son). Mr. Douglas is as intense as ever and Mr. Quinn slightly less so. Earl Holliman is the wuss son and Carolyn Jones is an understanding saloon girl. Pounding music and some great scenes in the Hotel put this above average.

A 6 out of 10. Best performance = Kirk Douglas. They just don't make them like this anymore. Anthony Quinn has a nice ranch house as well. But a p***ed-off Kirk is nothing to take lightly. Ms. Jones died too young and her presence always upgraded the quality of any film (check her out in Bachelor Party for which she was nominated in '57.

You can't be serious?

[Ghenghy · 4/10 · 5 July 2002]

This has got to be the WORST piece of garbage masquerading as a western I have ever seen, and I've seen some bad westerns. This one is inching pretty close to Billy the Kid Meets Dracula for just pure bad acting. Great story-pitiful script. Must have been a reason I missed this for the last 40 years. Just pathetic. 3/10

Cinematography vs. plot

[cosmo-30 · 4 December 2002]

There is a gripping opening scene setting up the motivation for the entire film. The location of the chase scene, rape, and murder was perfect...an ominously spooky river bottom lined with cottonwoods and tons of deadwood and fallen trees. The cinematography in this film was expertly done with great locations, camera angles, light and shadow, and color tones. The details in the town was the best I have ever seen in a western, very authentic...where is this location?, I would love to visit it in person. The saloon location was meticulously designed with extreme attention to authenticity and detail. These details throughout the film make it worth watching, especially for those in the craft of set design, wardrobe, camera, light, etc. The plot is ponderous, the Marshall shows very little grief or rage, the crime scene was fresh, yet he choses a circuitous route to the murderers rather than get a posse on a hot trail. Anthony Quinn is very good in his role, he loses his accent and adopts an excellent old west speech style. He exuded command and authority as the master of his territory. I would recommend this film from a technical view more than acting or story.

Be Careful, Matt.

[rmax304823 · 6/10 · 15 April 2015]

Two fine actors, Kirk Douglas and Anthony Quinn, at the top of their games. They were very different men but they had one thing in common: neither of them treated making movies as anything other than a means of earning a living. Quinn was reserved by Hollywood standards. He made no public service announcements or any such thing. Even his autobiography is sluggish. Quinn started in bit parts, usually as villains because of his dark looks. I think he played a romantic lead once in his career. Ot wasn't so much a career as a business, yet, he turned in some magnificent performances, as in "Viva Zapata."

In contrast, Kirk Douglas' "Ragman's Son" is one of those autobiographies that is so unusually frank that it unwittingly exposes the author's weaknesses because he simply doesn't see them as weaknesses. He seemed to put a dollar sign before most of his transactions with others. He lacked empathy and treated some helpless people with the utmost cruelty. He ridiculed the notion of movies being "art." Yet, he too was memorable in many of his films, especially as a man possessed by some kind of Dybukk, as in "The Juggler" and "Champion."

The guilty son, Earl Holliman, was a staple of films in the 1950s and his frequent appearances always puzzled me because the poor guy is fundamentally uninteresting. He hits his marks and recites his lines but he always sound as if he's whining about something. His features are equally dull, a dished face and two big ears. Caroyn Jones is the lady in the case, bitter, cynical, but won over at the end by Douglas' rectitude.

There is effective direction by John Sturges. Sometimes it's subtle but mostly functional. All the usual conventions of the traditional Western are followed. Every man wears a pistol strapped to his leg and there is danger everywhere, but, as in other Sturges flicks, no one is muddy. Ranches all about but no one is muddy. Nor do we see anyone on Quinn's cattle ranch doing anything with cattle. Sturges seemed most attracted to town Westerns, where a man could get a drink at a decent saloon and find a game of Red Dog. Every man, no matter his state, has been shaved closely by the studio barber.

The story in some ways resembles "3:30 To Yuma" but it's more taut, less mechanical. Earl Holliman is the weak wastrel son of cattle baron Quinn. He pursues and rapes a beautiful Indian woman, not knowing that she's the wife of Douglas, the Marshall of a nearby town. Douglas discovers the culprit's identity and shows up at the ranch to take him back. Quinn and Douglas are old friends and Quinn tries to dissuade Douglas from making the arrest. The streets line with Quinn's men ready to shoot Douglas as he tries to board the train with his prisoner and the tension grows. Come to think of it, at a slightly higher level of abstraction, it's "Rio Bravo", in which the sheriff is holed up with a prisoner guilty of murder and the whole town is waiting to gun him down.

It's a tragic situation and a moving one. Quinn is in the more difficult position. He doesn't want Douglas killed but neither can his pride allow his son to be hanged. In the end, justice is done but a price is paid for it.

A classic suspense western

[NewEnglandPat · 8/10 · 21 July 2003]

Top-notch western drama of a sheriff on a vengeance quest to track down the men who murdered his wife. Kirk Douglas and Anthony Quinn are excellent as erstwhile friends who are on opposite sides of the dilemma facing them. The film is as much a mystery as a western and several interesting characters intersect the main plot which plays out at the town's train station at the close. Douglas, always intense and edgy is matched by Quinn's stubborn refusal to make the right moral choice. Carolyn Jones and Earl Holliman head a good cast of supporting actors in the tense drama which increases as the plot angles play out. Beautiful western vistas add to a great classic story.

Tragic Western Story

[AaronCapenBanner · 7/10 · 2 October 2013]

Kirk Douglas plays Marshal Matt Morgan, whose wife is attacked and murdered by Rick Belden(Earl Holliman) who turns out to be the son of an old friend(played by Anthony Quinn) Rick had left his distinctive saddle behind, and Matt goes to visit the senior Belden, who is happy to see him, until he learns the reason for the visit. Though sympathetic for his loss, and furious with his son, he outright refuses to allow his son Rick to be extradited. Being a rich cattleman now, he practically owns the town, and after Matt arrests Rick, takes measures to prevent his son being tried and likely hanged, no matter the cost...

Exciting and well-acted film also has first-rate direction from John Sturges, and a good supporting performance from Carolyn Jones as Linda, the sympathetic(and cynical) woman who is also fed up with the corrupt Belden family. Her quote "The human race stinks!", still resonates...

Two strong leads: Douglas and Quinn!

[Nazi_Fighter_David · 9/10 · 17 July 1999]

Craig Belden (Anthony Quinn) is a powerful cattle-rancher, the richest of Gunhill, simply the Boss...

His son Rick (Earl Holliman) is weak, coward, a punk kid who just raped and killed Catherine Morgan (Ziva Rodann), a beautiful Indian woman ignoring that she is the wife of Matt Morgan (Kirk Douglas) the Marshall of the town...

From a costly elegant saddle, Matt recognized that the rapist-killer of his wife is close to reach... He decides to take the train to Gun Hill to see an old friend, Craig Belden, asking for help...

The tragic moment of the film is when Craig (Quinn) realized that the murderer is his own son Rick... He can't deliver his son to Matt... He knows the Marshall will hang him...

Quinn is the tragic figure... He is torn between his loyalty and fidelity to his best friend and his deep affection and devotion to the only son he raised alone...

Two superb actors were caught in the tragedy... The denouement was evident!

Directed beautifully by the maker of major fine westerns John Sturges, the film walks slowly toward a showdown, an inevitable clash from which only one will take the last train from Gun Hill...

Powerhouse, energetic stars

[HotToastyRag · 7/10 · 27 December 2020]

Anyone interested in seeing a battle of the energy levels between Kirk Douglas and Anthony Quinn? If so, rent Last Train from Gun Hill, a very dramatic western, and start keeping score.

In the last year of the Hays Code, this movie makes Some Like It Hot look like a walk in the park. Kirk Douglas's wife gets attacked and killed in the beginning of the movie, and the word "rape" is repeatedly used, which was previously a no-no for the past twenty-five years. Kirk follows the trail of her attackers to Anthony Quinn's town (Gun Hill) where he talks to his old friend about his quest for vengeance. Tony is sympathetic and vows to do all he can to help, but he's hiding something from his pal. One of the men responsible is Tony's son, Earl Holliman! Even though he doesn't condone rape and murder, he still wants to protect his child.

Both leads are cast in perfect roles: Kirk is tough and seek emotional vengeance, and Tony gets his heart broken by his no-good son. Earl Holliman plays a heartless jerk, though, so if you don't want to see him act like that, you might want to skip this one. Carolyn Jones looks beautiful in her period-piece costumes, and she plays Tony's mistress. As least one of those sexy fellows gets a love interest! Last Train to Gun Hill is definitely one of the more violent westerns, but if you like the cast, check it out.

Kiddy Warning: Obviously, you have control over your own children. However, due to violence, and since there's a rape scene, I wouldn't let my kids watch it.

Bad parents breed bad kids

[helpless_dancer · 8/10 · 5 July 2002]

A snot nosed punk, after raping and murdering a marshall's wife, is trailed home by the vengeful lawman. The entire town of Gun Hill refuses to aid the marshall in any way due to fear of, or loyalty to, the rapist's father who controls the whole town. A standoff ensues in the form of a 'waiting war'; waiting on the 9 o'clock train out of town: the marshall either dead or with his prisoner, himself the victim of his overindulgent yet brutal father. Excellent western with loads of blazing 6 guns and hot lead.

Last Train from Gun Hill

[henry8-3 · 7/10 · 26 April 2021]

Following the rape and murder of his wife, Marshall Kirk Douglas heads to Gun Hill to seek out those responsible. The town and surrounding country are 'owned' by tough guy and ex Douglas pal Anthony Quinn, who happens to be the father of one of the killers and is not keen on Douglas arresting him.

Terrific, fast moving western with great performances from all those involved. Whilst the notion of one man against a town of bad guys isn't exactly new, this is handled so well by top action director Sturges (later to direct The Magnificent Seven and The Great Escape) giving careful attention to both the rough stuff and the tension of Douglas facing an impossible task. This is assisted by tight, passionate turns by Douglas - his speech to Holliman about being hanged a high point and Quinn, one of the few actors who can credibly face off to Douglas. A tough film - you could see Tarantino doing a remake of this.

Another Classic John Sturges Western!

[bsmith5552 · 8/10 · 20 November 2004]

"Last Train From Gun Hill" never received the praise it was due coming as it did between two more famous John Sturges westerns, "Gunfight At the O.K. Corral" (1957) and "the Magnificent Seven" (1960). It is nonetheless a classic in its own right. It has a strong cast headed by Kirk Douglas and Anthony Quinn and holds your attention from start to finish.

Two cowboys, Rick Beldon (Earl Holliman) and Lee Smithers (Brian G. Hutton) are on their way home from a few days of fun and games when a buckboard carrying an attractive young Indian squaw (Zora Rodann) and her young son Petey (Lars Henderson). The men taunt the young woman until she horse whips Rick, laying open a deep cut on his face. The men become angered and chase the woman until they catch her and rape her, accidentally killing her in the process. Her son escapes, steals Rick's horse and rides to town to tell his father, who happens to be town marshal Matt Morgan (Douglas).

Morgan distraught over his wife's horrible death, recognizes the saddle on Rick's horse as that of an old friend Craig Beldon (Quinn). Beldon is now a wealthy rancher who controls most of the town of Gun Hill. Morgan takes the train to Gun Hill where he meets Beldon's mistress Linda (Carolyn Jones). He then goes to Beldon's ranch in search of his wife's killers. At first Beldon offers his help until he realizes that the guilty party is his son Rick.

Morgan vows that he will take Rick and Lee back for trial on, you guessed it, the last train from Gun Hill. Beldon swears that Morgan will never take his son and makes plans to stop Morgan. Morgan manages to capture Rick and......

As in other Sturges westerns there is plenty of action, excellent photography and solid direction all leading up to a climatic gunfight.

Also in the cast are Brad Dexter and Bing Russell as Beldon's top henchmen and Walter Sande as the town sheriff. Sharp eyed western fans will also spot veterans Glenn Strange, Dabbs Greer, Charlie Stevens, Billy Benedict, John Anderson and Ty Hardin in small featured roles.

A great western.

Not one of the great Westerns, but darned good

[vincentlynch-moonoi · 7/10 · 23 March 2016]

Although I grew up in the 1950s loving Westerns...but at that time, who didn't...it's a rare Western nowadays that can hold my attention. However, this Western is clearly a cut above the average, and despite a few clichés, it's very watchable.

Kirk Douglas is the sheriff who has an Indian wife and young son. The wife is raped and murdered by Earl Holliman, the son of a land owner (Anthony Quinn) who controls a huge ranch a couple of towns over. Douglas sets off to bring the rapist/murderer in, which won't be easy since Quinn controls everything in his town. The twist is that Douglas and Quinn were once closest of friends. We know, of course, that Douglas will be successful in his attempt to bring about justice (with a little revenge mixed in), but how will he do it. Well, it's pretty interesting.

Kirk Douglas had an on-screen personality which was often too big for the movie screen. But he was best with he controlled himself and slightly under-played his roles...and that's what he did here. It's a very good performance.

Although Anthony Quinn had been making movies for over 20 years, when he made this film he was yet to hit his stride as a confident leading actor. He does nicely here, although I would not consider his acting here particularly noteworthy.

Carolyn Jones plays an odd character -- one who can't quite leave Quinn's character, even though he abuses her. I'm rarely impressed with Jones, but she's good here as the key to Douglas succeeding in his quest.

Earl Holliman is another actor I've never been overly impressed with. I would say he usually did his job...as he does here. Definitely a supporting actor, and not a star.

This is a Western worth watching, although it is certainly not in the realm of say a John Ford Western. Solid entertainment, though.

Another Overrated Film from an Overrated Director

[LeonLouisRicci · 5/10 · 12 October 2015]

A Stiff and Super Clean Look is What You Get From the Overrated Director John Sturgess Once Again. The Man Wouldn't Know Grit if it Covered the Bottom of His Elevator Boots. The Strong Acting from Kirk Douglas and Anthony Quinn with the Radiant Beauty of Carolyn Jones Cannot Save Another Clunker from Sturges and His Bland Direction.

There is Some Tension from the Script, Borrowed from and Almost Identical to Other Recent Movies of the Era, the Shallow and By the Numbers Style of So Many Fifties Westerns Renders the Suspense Somewhat Anemic.

The First Act is the Best and it All Goes Down (Gun) Hill From There. The Cinematography is Lusciously Competent but Nothing Different from a Thousand Other Professionals, and the Dimitri Tiomkin Score is Intrusive and Overdone Frequently.

Worth a Watch with Low Expectations but for Those Looking for One of the Better Westerns from the Many in the Decade of "The Western", Need Look Elsewhere.