Not even bad in a good way

Lack of good storyline.

it is the rare 'crazy' movie that actually has something to say.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Man in the Shadow is directed by Jack Arnold and written by Gene L. Coon. it stars Jeff Chandler, Orson Welles, Colleen Miller, Ben Alexander, John Larch and Barbara Lawrence. Uncredited music is by Hans J. Salter and Herman Stein, and cinematography by Arthur E. Arling.The cattle town of Spurline is ruled by Virgil Renchler (Welles), one man refuses to bow to his despotic rule - Sheriff Ben Sadler (Chandler).Obreos No Son Permitidos A Traves De Esta Cerca.The above statement means that field hands are not permitted beyond this fence, it's an opening salvo that greets viewers of this atmospheric and relevant CinemaScope picture, and it's something that perfectly sets up the unseemly tone of the story.The story is simple enough, a town is run by an unsavoury business man who thinks he and his cronies are above the law, the townsfolk think he is as well and tow the line, even in view of the overt racism and treatment to those of other ethnicity. When a murder is committed it brings in the upright and loyal to the law Sheriff, who as you might guess will have to stand alone against tyranny."Now you're shocked? All you decent people were shocked? For god's sake why? Because my name's Ben Sadler instead of Juan Martine, cuz I'm a tax payer instead of a drifter?"With mood established, both in narrative thrust and monochrome magic, film is more concerned with political bile, the abuse of power and troubled consciousness than being an action piece. You may well know how this is all going to end, but it's told and performed in such a gripping fashion that it holds court from first frame till last. A number of striking images would grace many a film noir, the night shots of the town, a dastardly crime perpetrated in the shadow of a swinging lamp, the ominous lighting of the Renchler Ranch, and then there's the potency of the criminal acts, which are admirably constructed. Both Arnold and Arling proving to have keen eyes for visual impact.Welles doesn't have to stretch himself but makes a telling mark as the big bad, while Larch does a nice line in snarly henchmen villainy. Sadly where Miller is concerned, as Renchler's daughter it's a token role that any gal could have played, the role seemingly only serving to have her strip to her undies and be annoyed with her dad. Head and shoulders above everyone is Chandler, there are those who call him wooden (amongst over things), not a bit of it. The right role, such as this, showcases his worth, his subtleties, his physicality and a calming grace that makes one lament his too short career and life.Thematically this sort of piece has been done much better elsewhere, but this is laudable stuff all told and well worth discovering for potential first time viewers. 7/10

its basic virtue - honesty. it is a correct film, in moralistic skin, with western nuances but more than a story about fight between good and bad. its great chance - a smart script, almost courageous, an exceptional cast - the duel between Orson Welles , master of so many nuances of his role, and Jeff Chandler is realistic, the tension of scenes is real gem and the references to ordinary reality represents perfect catch for each viewer. its definition - measure. art to reflect a face of America with universal resonance. and this is cause , one of them, for who it is more than a nice old movie. far to be moralistic, it is a beautiful story about values and their soul - pure courage of a Medieval hero in the womb of a small town reality. and, for a viewer from East Europe, the year of film production is interesting remember about Cold War atmosphere. like a not great significant detail.

This is a good "pre-civil rights movement" western, continuing in the tradition of "High Noon" and "Bad Day at Black Rock". Colleen Miller plays Orson Welles daughter, (not his wife as someone posted previously.) Jeff Chandler (who died way too young at 42) is the sheriff and conscience in the film and he does a good job in this role. The fact that the cowboys have beaten a defenseless Chincano to death is something that most citizens in the town would rather forget.Chandler's character and his family are harassed by the murderous and prejudiced cowboys who work for Welles.The climax of this film is hard to watch even today. The director was Jack Arnold,who was great at expressing his opinions in low-budget films,such as "It Came from Outer Space" and "The Tattered Dress."

In a bit of a departure for its time, this movie begins with a brief pre-credits sequence, and it delays some of its credits till the very end. (During these closing credits, music is played which was also used in "It Came from Outer Space.")Aside from these minor touches, however, "Man in the Shadow" is a traditional, straightforward effort which would have once fitted unobtrusively into the bottom half of a double-bill. By 1957, however, these "B" movies were rapidly being replaced by TV programming and "Man in the Shadow" could easily have been converted into a one-hour television drama. The script might have been edited down by eliminating the role of Orson Welles' teenage daughter who only figures tangentially into the plot and who does not provide any "romantic interest" for Jeff Chandler since his character is already happily married.The plot is one of those "politically correct" affairs about the small-town lawman standing up against a powerful citizen in defense of a racial-minority member. The lawman's urged by his family and friends to leave well enough alone but a man's gotta do what a man's gotta do. You might expect here one of Orson Welles' flamboyant (a.k.a. "hammy") performances but he's surprisingly restrained due, one suspects, simply to lack of interest in such a minor project. Jeff Chandler, amazingly enough, seems more compelling, and in the movie's most memorable moment he's dragged by his wrists down Main Street, sometimes on his belly, behind a pick-up truck. Jack Arnold directed this movie competently but without distinctive touches in a series of standard expository scenes. It pales in comparison to his other 1957 movie, "The Incredible Shrinking Man."