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Above average Oater that sees Burt Kennedy recycle a classic format. Six Black Horses is directed by Harry Keller and written by Burt Kennedy. It stars Audie Murphy, Dan Duryea and Joan O'Brien. Photography is by Maury Gertsman and the music scored by Joseph Gershenson. It's filmed in Eastmancolor and location for the shoot is St. George, Utah, USA. Plot sees Murphy and Duryea hired by O'Brien to take her across dangerous Indian country to her husband. But are ulterior motives at work?. There's no getting away from it, this film has striking similarities to the far superior "Budd Boetticher/Randy Scott" movie, "Ride Lonesome". Also scripted by Burt Kennedy, the plot follows the same format and Kennedy even scripts some of the same dialogue. While the keen Western fan will note the name of Murphy's character, Ben Lane, was also used for a character in "Boetticher's Comanche Station". So far so regurgitated then, but although it goes without saying that to watch this piece in conjunction with "Ride Lonseome" is a futile exercise, this does have enough about it to warrant a viewing on its own terms one Sunday afternoon. It's a professional and well put together movie, Murphy and Duryea (the latter owning the film from the second he turns up on his horse, shotgun in hands) aren't asked to extend themselves but still make an engaging duo (see also their pairing in "James Stewart" starrer "Night Passage 1957"). While O'Brien ("The Comancheros") is gorgeous and does a nice line in sultry devious. Editor turned director Keller does a competent job, his action construction solid if somewhat hamstrung by the odd daft moment involving the Coyoteros Indians. Stunt work is very good and Gershenson's ("No Name on the Bullet/Lonely Are the Brave") score is brisk and tonally correct. Bonus here is the location scenery, beautifully realised by Gertsman's ("Cattle Drive 1951") photography, the St. George craggy hills form an imposing backdrop as the protagonist's journey grows more perilous and their emotional states come under scrutiny. Enjoyable with genuine moments of quality, even if it's ultimately the second cousin to a far better movie. 6.5/10
Renegades trying to get the army to abandon their fort get the Indians addicted to whiskey, then convince them to attack and drive out the soldiers.
The brother (House Peters Jr.) of rancher Bill Martin (Bill Elliott) is killed in a stampede started by cattleman. Bill returns to the Fargo country to take his brother's place and is welcomed by law-abiding cattleman MacKenzie (Jack Ingram)) and his daughter Kathy (Phyllis Coates). The leader of the ruthless cattle interests are townsman Austin (Arthur Space) and his henchmen Red (Myron Healey), Link (Robert J. Wilke) and Albord (Terry Frost). Bill has the idea of putting up barbed wire to keep the herds from been driven over the land cultivated by the farmers. He, aided by Tad Sloan (Fuzzy Knight), produces the wire by make-shift methods, but it proves effective. The cattleman charge in court that the wire is dangerous to their herds but lose the case. Austin orders his men to seize Bill, bale him in strands of the wire, and throw him on the stage of the town hall during a fall festival. Bill doesn't take kindly to this and it precipitates open war.
When attacked by two dogs, Joe Gilmore leaves them on the desert to die. Later one of the dogs saves John Blake from drowning. Men arrive claiming the dog is killing their chickens. They want to kill the dog but John convinces them the dog's fate should be determined by a trial.
The simple story has the pair coming to the rescue of peace-loving Mormons when land-hungry Major Harriman sends his bullies to harass them into giving up their fertile valley. Trinity and Bambino manage to save the Mormons and send the bad guys packing with slapstick humor instead of excessive violence, saving the day.
More a romantic melodrama than a true Western, this Buck Jones vehicle from Columbia starred Jones as Buck Randall, a carefree cowboy whose popularity with the local saloon girls becomes the talk of the town.
No relation to the 1950 John Ford classic of the same name, Rio Grande is yet another rubber-stamp Charles Starrett western from the Columbia assembly line.
A mysterious preacher protects a humble prospector village from a greedy mining company trying to encroach on their land.
Banker Mason is after the ranchers land so he can resell it to the railroad for a profit. He has the railroad agent killed and replaces him with his stooge who then offers even less than Mason. But Rocky eventually suspects Mason and when Bill Anderson informs him the agent is a fake, they head out after Mason
A rancher comes home and finds that his son has been murdered and his daughter kidnapped by a bandit gang. He hires a professional tracker with a reputation for finding his quarry to help him find the gang and rescue his daughter.
An ex-con returns to his rural Ontario roots and outwits a corrupt and wealthy thoroughbred owner trying to take over a slew of local farms. Ray Dokes, a charming ex-ballplayer, returns from jail to discover the rural landscape of his childhood transformed by urban development. Determined to stay out of trouble, Ray heads to the farm of his old friend Pete Culpepper, a crusty Texas cowboy who trains losing racehorses and whose debts are growing faster than his corn.
The Durango Kid is a sort of Robin Hood of the West who helps the lovely Walters (who replaced Starrett's usual love-interest, Iris Meredith), the daughter of a homesteader, defeat the evil MacDonald who has been terrorizing the decent citizens with his gang of rustlers.