I like the storyline of this show,it attract me so much

Too much of everything

That was an excellent one.

So much average

a good work, interesting western, smart story. in fact, more than adaptation of an American modern history episode, it seems be adaptation of Ahasverus myth. because it is portrait of a sin committed with noble intention. and that fact is basic virtue of that drama. it does a simple movie, mixture of love and revenge, who can impress first for its deep roots. it is a a film remarkable for actors performance because the acting is , in this case,precise tool not for present a story but to discover the profound human side of characters. and that fact has a correct result and the force of seduction for large public. it is a good work. and that thing is a real admirable virtue for the manner to expose the story in inspired light. and , for that fact, the merit of John Ireland is not little.

Sam Fuller's writer/ director debut foreshadows much of the quirky originality one would come to expect from his pictures in the decades to follow. Leave it to Sam to have a protagonist that cowardly shoots an infamous icon in the back as opposed to making another oater featuring Jesse James. I Shot Jesse James is a fresh approach to the western canon and from this angle makes for a more than satisfying ride for a B western with something extra. Jesse James is living incognito in St. Joe MO with his family as well as providing shelter for the Ford brothers. When Bob Ford (John Ireland) learns he can receive amnesty as well as a fat reward for Jess dead or alive he plans his future to run off with his entertainer girl friend and start anew. After performing the dastardly act he fails to get the full reward so he agrees to go on tour re-creating the scene on stage as well as avoid a similar fate.Fuller presents James as a decent man while Ford displays a loutish personality filled with jealousy and paranoia. Ireland does a fine job of managing to evoke sympathy for a an execrable character looking for a way out as he displays just enough sensitivity to temper his surly ways. Eventually you find yourself rooting for him and perhaps identifying with him since he is not only an assassin but a dreamer as well.

If you have not seen Samuel Fuller's White Dog, you need to get it quick to see what a great director he was. This is his first film. He wrote and directed this, and his promise shows throughout.Jesse (Reed Hadley) doesn't have the young look that I have come to expect. He almost looks like Abe Lincoln with his beard and mustache.John Ireland, who received an Oscar nomination for All the King's Men the same year as this film, was Bob Ford, whose love for Cynthy Waters (Barbara Britton) caused him to kill Jesse.Of course, everything goes wrong as people likes Jesse, and he was shunned. He also suffered remorse for killing his friend, but you know the story.It was a good tale of the killing of Jesse James, and the aftermath for Ford.The bar scene with the traveling troubadour (Robin Short) singing about the "coward Robert Ford" was hilarious.

**INCLUDES POSSIBLE SPOILERS** The film debut of writer/director Samuel Fuller, `I Shot Jesse James,' is a tightly wound character study of Robert Ford (played here by John Ireland), the man who shot and killed Jesse James. Ford, a member of the infamous James Gang, is Jesse's best friend; he's reached a time in his life when he just wants to settle down, get married and have a place of his own. But more than anything, he yearns for the one thing he'll never have as a wanted man: freedom. He wants to be able to walk down the street like anybody else and just live his life. He's in love with an actress, Cynthia Waters (Barbara Britton), who will marry him if he can square himself with the law. She goes to a prosecutor on his behalf, but the best deal they can offer if he turns himself in amounts to twenty years in prison. About this same time there is a public offer from the Governor of complete amnesty to anyone (including James Gang members) who will bring in Jesse, dead or alive. Moved to action by his love for Cynthia, and knowing that no man could take Jesse face to face, Ford shoots him in the back in Jesse's own home. Ford gets the freedom he so desperately covets, but the price he pays is far more than he ever bargained for. Filmed in stark black & white, and with Fuller's deft use of shadows and night shots, it combines with the content of the story to create a sense of atmosphere that gives it a `Western Noir' feeling, with a stoic inclination of predestination. By pulling the trigger, Ford condemns himself to the fate of Judas, and ironically finds more ostracism within the parameters of his newly won freedom than he did as an outlaw. Ireland does an outstanding job as Ford, maintaining a subtle restraint throughout, while going deep to get to the core of this man who is buoyed only by the love he bares for Cynthia, through which he manages to keep the remorse of killing his best friend at arm's length. He also brings a certain cocky menace to the character, which gradually becomes more unassuming, yet somehow more threatening, as the story progresses and he reacts to the backlash he encounters in the wake of Jesse's murder, an act viewed as deplorable by the many who considered James a hero. One of the most memorable scenes in the movie takes place sometime after Jesse's death; Ford is in a saloon when a wandering troubadour (Robin Short) comes in and offers a song for the price of a drink. Ford buys, and the man (who doesn't know Ford) begins a ballad that `A lot of people seem to like.' It's about Jesse James, and `Robert Ford, that dirty little coward' who shot him in the back. Watching Ford's reaction, and in turn the reaction of the troubadour, creates a tension that is palpable. Another outstanding, and telling scene, is the one in which Ford attempts to recreate the killing on stage, and realizes too late that it forces him to face up to what he's done for the first time; it's the moment of truth, wherein the burden of guilt is made manifest at last.The supporting cast includes Preston Foster (John Kelley), Reed Hadley (Jesse James), Tom Tyler (Frank James), Barbara Woodell (Zee James) and Tommy Noonan (Charles Ford). An auspicious beginning for Fuller, `I Shot Jesse James' is a minor classic that heralds the more reality-based Westerns (like `The Wild Bunch') that would come some twenty years or so later on. Fuller delivers it in a manner that is thought provoking and has style; definitely not your run-of-the-mill Western, it is deserving of acclaim that has thus far been elusive. Hopefully, one day the merits of this film will be recognized. I rate this one 7/10.