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Very very predictable, including the post credit scene !!!

Very best movie i ever watch

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

One of the worst movies I have watched. The script is awful. It features the worst performances I have seen from Anthony Quinn (particularly unbelievable), Henry Fonda, Richard Widmark on top of scenery chewing cheese from De Forrest Kelley and Frank Gorshin. i haven't watched Dorothy malone much but she is pretty bad here too. The direction of the actors (and Quinn and Fonda are two of the greats) is appalling and the movie is otherwise dully photographed. An embarasssment to all involved. Give it a miss.

Amazing yet uneven oater. Almost a psychological study of Old West characters and their tormented relationships. Fonda's performance holds it all together but at times it appears very formal and all over the place. If it had been pruned by 30 mins and tightened up thus could have been a great movie. There are overtones of a gay relationship between Clay (Fonda) and Morgan (Quinn), but what does it all mean? Ostensibly a study of courage in the face of violence and lawlessness but when the Shakespeare-quoting Morgan displays a death-wish when Clay wants to settle down with a girl, you wonder what it's all leading to. The film's treatment of Morgan fascinated me because the cause of his disability is never revealed. Unusual for a leading character. Film focuses on too many characters and comes across as disjointed, confusing. Despite its placid surface, events happen abruptly and without explanation. For example, the independent Clay falling in love overnight and making wedding plans to marry Jesse in a fortnight! And this important conversation took place off-screen. It led to Morgan and Clay's estrangement and Morgan's breakdown. Trivia: Extraordinary number of blue-eyed actors in leading roles! Was it a prerequisite?!

Look, I know it was the '50s, and homosexuality was considered aberrant behavior, but this movie does play it really safe by not stepping on that subject too hard. Edward Dmytryk even claims that the homosexual references were not intentional, but in that case, one must ask, why were they in there? It's not just the deep and jealous friendship between the two men that implies their homosexuality, but many other details: when Blaisedell and Morgan first move into their new apartment in Warlock, Morgan talks of how he wants to pretty the place up. "I'll soon have it looking nice and homey for you," or words to that effect. Seems to me a clear '50s euphemism for an "effeminate" man.Later on Blaisedell (played by Henry Fonda) says to Jessie Marlow (who, by the way, is courting him in a rather aggressive– and possibly masculine way), that he may not be able to have a relationship with her, and that he might be better suited to his Colts. (As opposed to his Fillies— I thought it right to infer.) There was also a subtle masturbation implication, when she finds him practicing shooting his gun in the middle of nowhere, that she's caught him polishing his own Colt.In another scene he says something similar about being more suited to a relationship with Morgan than with her. It seemed like a straight comparison of relationships to me. Okay, we may not be talking strict homosexuality here, but certainly bi-sexuality must be a consideration.Likewise, in a scene between Morgan (Anthony Quinn) and Lily Dollar (Dorothy Malone) in which he threatens her, and orders her to leave Blaisedell alone, the expositionary dialog that ensues seems to be much less about jealousy regarding a romantic relationship between Morgan and Lily, and more like it's about a power relationship; expressly that of a pimp to his whore. Let's face it, even her name, Dollar, let's you know what she's in it for. He clearly used to be her evil gay pimp, and when she jumped ship on him to marry some guy, he manipulated his boyfriend into killing that guy in order to slap her back into line.To be fair, I have not the read the original book by Oakley Hall, but I'm on the lookout for it now. It just begs the question that if Dmytryk didn't want those inferences to be taken, why would he include them? Isn't it more likely that he did want to imply what we think he is implying, but couldn't admit it in such a sexually repressed era as the '50s was. He may even have been forced to play up the romance angle between Blaisedell and Jessie in order to appease his Hollywood overlords, and a sexually inhibited American post war society. It just seems like the movie is sending double messages by trying to simplify the painful complexity of the situation — Hollywood, I guess!Of course another possibility is that Dmytryk didn't even understand the implications from the book, and included certain details from it, not realizing how they might be taken, or what they were referring to. I don't know, as I admit I have not yet checked the book. But I cannot imagine that he would be so naive as to miss obvious plot and motivational subtexts such as the sexual orientation of his characters.Either way, we have a film in which the justifications for character actions are muddy and unresolved. Just like real life— you might say. But I would respond— more like a bad movie script. However, despite that fact, I still rather enjoyed the movie.

Another one of those very unusual films that really has no analogue, no similarities, to anything before or after. A tale of a spit and polish travelling Marshall who, for a price, will show up in your town and do the dirty work that has to be done. But note he does not show up alone. Clay Blaisdell (Fonda is a role that literally no other actor on the planet could play, voice and mannerisms completely unique and unforgettable) arrives with an entourage composed of just one man. The assistant played by Anthony Quinn (who I believe had the LONGEST END TO END CAREER in the history of western film) is a fussy, detail-oriented kind of mother hen. He says his job is to watch out to make sure "no one shoots Clay in the back" (very handy to have in that profession) and later in the film (spoiler!) he lets it slip that he is actually faster on the draw than his boss! When a film is one of a kind, it is hard to rate, because what do you compare it to? Another from the stable of Edward Dmytryk, the direction is flawless. Highly recommended. And watch out for the not-too-subtle hints that Quinn's character's fondness for Fonda (!) went a little further than it was supposed to, especially when Clay suddenly drops the bomb that he wants to end the partnership and settle down with a woman.