Harry Woods Movies

Gunslinger Joe Delk (Harold J. Stone) has managed to avoid arrest by forcing his victims to draw first, then killing them in "self defense." When Delk shoots down the Baxter boys, who didn't have an enemy in the world, the people of Dodge City demand that Marshal Matt Dillon (James Arness) do something. Since he cannot legally arrest Delk, Matt figures out a way to expose the swaggering gunman as a coward--without even lifting his own six-shooter. This episode is based on the Gunsmoke radio broadcast of February 26, 1956. ~ Hal Erickson, Rovi

This "modern" western stars Rod Cameron as opportunistic Korean war veteran Tully Gibbs. Posing as a friend of the late son of mine owner Kevin Russel (Chill Wills), Tully intends to work the mine for all it's worth and then pull out. By and by, Tully slowly turns honest, but the same cannot be said of rival miner Ben Hodes (John Russell). Coming clean with Russell, Tully takes it upon himself to protect the mine from Hodes' evil schemes. The feminine angle is provided by Joan Leslie as Sarah Moffit, the sweetheart of Russel's deceased son, who eventually finds happiness in Tully's arms. Of interest are two supporting players, Jim Davis and Kristine Miller; both were concurrently starring on the weekly TV series Stories of the Century. ~ Hal Erickson, Rovi

Western aficionados tend to regard Short Grass as the best-ever directorial effort by Lesley Selander. Considerably longer than most Monogram westerns (82 minutes), the film never lags, thanks to the expertise of Selander and a top-rank cast. Rod Cameron plays Steve, a drifter who briefly settles down on a ranch. During a range war, Steve comes to blows with avaricious rancher Hal Fenton (Morris Ankrum). Shortly thereafter, a man is killed and Steve is implicated in the crime. He leaves town in a hurry, returning five years later to clear his name and reclaim his land. He finds that his former girl friend Sharon (Cathy Downs) is married to alcoholic newspaperman John Devore (Tris Coffin), and that Fenton now holds the commuity in an iron grip of fear. Lawman Keown (Johnny Mack Brown) can't administer justice because of the political strings pulled by the villains. With Steve's help, Keown and the rest of the town's honest citizens are finally able to swing into action, leading to a superbly staged climax. Comic actor Raymond Walburn essays a relatively straight role as the town's leading citizen. ~ Hal Erickson, Rovi

In the late 1940s - early 1950s, Columbia Pictures enjoyed a great deal of success with a series of slapsticky feature films built around the talents of such gifted funsters as Red Skelton, Lucille Ball, William Bendix and Jack Carson. In this tradition, Columbia's Traveling Saleswoman is a showcase for the delightful Joan Davis. The star plays Mabel King, who heads westward to sell her father's soap. Tagging along is Mabel's erstwhile beau Waldo (Andy Devine). In the course of the film's 74 minutes, Mabel wins over a hostile Indian tribe, makes short work of an outlaw named Cactus Jack (Joe Sawyer) and a saloon chirp named Lilly (Adele Jergens), and even gets to warble a song or two in her own inimitable fashion. Traveling Saleswoman was produced by Tony Owen, who later prospered as producer of a long-running TV sitcom starring his wife, Donna Reed. ~ Hal Erickson, Rovi

The hero of Ayn Rand's The Fountainhead is Howard Roark (Gary Cooper), a fiercely independent architect obviously patterned after Frank Lloyd Wright. Rather than compromise his ideals, Roark takes menial work as a quarryman to finance his projects. He falls in love with heiress Dominique (Patricia Neal), but ends the relationship when he has the opportunity to construct buildings according to his own wishes. Dominique marries a newspaper tycoon (Raymond Massey) who at first conducts a vitriolic campaign against the "radical" Roark, but eventually becomes his strongest supporter. Upon being given a public-housing contract on the proviso that his plans not be changed in any way, Roark is aghast to learn that his designs will be radically altered. Roark sneaks into the unfinished structure at night, makes certain no one else is around, and dynamites the project into oblivion. At his trial, Roark acts as his own defense, delivering an eloquent paean to individuality. He is acquitted, while the newspaper tycoon, upset that he could offer Roark no help during the trial, kills himself. This clears the way for a final clinch between Roark and Dominique on the skeleton of his latest building project. Ayn Rand's celebration of Objectivism didn't translate very well to film, with Gary Cooper coming off more selfish and petulant than anything else. The Fountainhead's saving graces are the solid direction by King Vidor, the rhapsodic musical score by Max Steiner, and the symbolism inherent in Cooper's manipulation of his power drill when he first lays eyes on Patricia Neal! ~ Hal Erickson, Rovi

Samson and Delilah is Cecil B. DeMille's characteristically expansive retelling of the events found in the Old Testament passages of Judges 13-16. Victor Mature plays Samson, the superstrong young Danite. Samson aspires to marry Philistine noblewoman Semadar (Angela Lansbury), but she is killed when her people attack Samson as a blood enemy. Seeking revenge, Semadar's younger sister Delilah (Hedy Lamarr) woos Samson in hopes of discovering the secret of his strength, thus enabling her to destroy him. When she learns that his source of his virility is his long hair, Delilah plies Samson with drink, then does gives him the Old Testament equivalent of a buzzcut while he snores away. She delivers the helpless Samson to the Philistines, ordering that he be put to work as a slave. Blinded and humiliated by his enemies, Samson is a sorry shell of his former self. Ultimately, Samson's hair grows back, thus setting the stage for the rousing climax wherein Samson literally brings down the house upon the wayward Philistines. Hedy Lamarr is pretty hopeless as Delilah, but Victor Mature is surprisingly good as Samson, even when mouthing such idiotic lines as "That's all right. It's only a young lion". Even better is George Sanders as The Saran of Gaza, who wisely opts to underplay his florid villainy. The spectacular climax to Samson and Delilah allows us to forget such dubious highlights as Samson's struggle with a distressing phony lion and the tedious cat-and-mouse romantic scenes. ~ Hal Erickson, Rovi

The second of John Ford's "Cavalry Trilogy," this film stars John Wayne as Cavalry Captain Nathan Brittles. In his last days before his compulsory retirement, Brittles must face the possibility of a full-scale attack from the Arapahos, fomented by the recent defeat of General Custer and by double-dealing Indian agents. ~ Iotis Erlewine, Rovi

Love leads a man to his most evil deeds and forces him to change his ways in this Western. After being handed a dishonorable discharge during the Civil War, Mike McComb (Errol Flynn) becomes a professional gambler and follows a path of ruthless action to get what he wants. After moving out West and making a killing prospecting silver, McComb becomes a wealthy and powerful man, and he finds himself infatuated with beautiful Georgia Moore (Ann Sheridan). However, Georgia is married to Stanley Moore (Bruce Bennett), who works for McComb, so he arranges for Stanley to be given a dangerous assignment; Stanley is killed, and McComb sweeps the widowed Georgia off her feet. Georgia weds McComb, but in time she finds out the ugly truth about her second husband, leaving him behind. Devastated, McComb sets out to mend his ways and win Georgia back by serving more noble purposes. Silver River was the seventh Flynn vehicle directed by Raoul Walsh; it would also mark the last time they worked together. ~ Mark Deming, Rovi

In the early 1930s, Tom Keene was RKO's resident western star. By 1948, Keene had changed his name to Richard Powers, and had slipped unobtrusively into supporting roles. Back at RKO for Indian Agent, Keene/Powers plays a crooked government man who has been rerouting the Indian's food supplies to fatten his own bank account. Racing to the rescue is Tim Holt, who forestalls an Indian uprising in order to bring the duplicitous agent to justice. Indian Agent also features a character performance by Noah Beery Jr. (usually cast as the bucolic best friend of the hero) as a proud Native American chief. ~ Hal Erickson, Rovi

RKO Radio's "Zane Grey" western series came to an end with the eighth entry, Wild Horse Mesa. Tim Holtstars as a cowboy who earns his keep by rounding up wild mustangs. When his boss is murdered after selling the horses, our hero and his Irish-Mexican sidekick Chito Rafferty (Richard Martin) try to find out who's responsible. It would spoil the viewer's fun to reveal the identity of the killer, but it can be noted that the film's leading lady is the lissome Nan Leslie. Wild Horse Mesa had been previously filmed in 1925 (with Tim Holt's father Jack), then again in 1933. ~ Hal Erickson, Rovi

Fans of William "Wild Bill" Elliot vastly prefer his B westerns to his big-budget Republic "specials", though the latter films have their adherents. In The Fabulous Texan, Elliot emulates his idol William S. Hart in the role of ex-Confederate officer Jim McWade. Returning to Texas to find his home turf under the jurisdiction of corrupt, despotic carpetbaggers, McWade shoots it out with the authorities after his father is slain. Forced to flee to the mountains with his war buddy John Wesley Barker (John Carroll), McWade vows revenge on those bluecoated thugs who've ravaged his beloved Texas. Eventually, McWade realizes that he'd be better off cooperating with the Federal government to rid his state of its plunderers, but Barker comes to enjoy the life of an outlaw, and refuses to surrender his independence. Thus it comes to pass that McWade is obliged to hunt down his old friend, thereby restoring Law and Order to Texas. Catherine McLeod costars as Alice Sharp, the woman who will become McWade's wife-- and, in old age, the torchbearer of his memory. ~ Hal Erickson, Rovi

Quick-draw legend Bat Masterson is summoned to Kansas to end a small-town feud between local farmers and criminal ranch owners in this western starring Randolph Scott. ~ Kristie Hassen, Rovi

James Thurber wasn't too happy with the Sam Goldwyn film adaptation of his 1939 short story The Secret Life of Walter Mitty, but the Technicolor musical comedy proved to be a cash cow at the box office. Danny Kaye stars as Walter, a milquetoast proofreader for a magazine publishing firm. Walter is constitutionally incapable of standing up for himself, which is why his mother (Fay Bainter) has been able to arrange a frightful marriage between her son and the beautiful but overbearing Gertrude Griswold (Ann Rutherford). As he muses over the lurid covers of the magazines put out by his firm, Walter retreats into his fantasy world, where he is heroic, poised, self-assured, and the master of his fate. Glancing at the cover of a western periodical, Walter fancies himself the two-gun "Perth Amboy Kid"; a war magazine prompts Walter to envision himself as a fearless RAF pilot; and so on. Throughout all his imaginary adventures, a gorgeous mystery woman weaves in an out of the proceedings. Imagine Walter's surprise when his dream girl shows up in the flesh in the person of Rosalind van Horn (Virginia Mayo). The girl is being pursued by a gang of jewel thieves headed by Dr. Hugo Hollingshead (Boris Karloff), a clever psychiatrist who manages to convince Walter that he's simply imagining things again, and that Rosalind never existed. At long last, Walter vows to live his life in the "now" rather than in the recesses of his mind: he rescues Rosalind from the gang's clutches, tells his mother and Gertrude where to get off, and fast-talks his way into a better position with the publishing firm. Substituting the usual Danny Kaye zaniness for James Thurber's whimsy, Secret Life of Walter Mitty works best during the production numbers, especially Kaye's signature tune "Anatole of Paris." ~ Hal Erickson, Rovi