ridiculous rating

The movie is wonderful and true, an act of love in all its contradictions and complexity

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

After burning an undercover agent alive, outlaw brothers Forrest Tucker, J. Carroll Naish, and Myron Healey are infiltrated again, this time by former Confederate super-spy Randolph Scott, sent by the Peterson (Pinkerton?) Detective Agency. He ends up falling in love with the brother's pretty, law-abiding sister.A slight cut above some of Scott's usual 1950's B-westerns (the ones not directed by Budd Boetticher), this has really good production values, entertaining heavies, as well as a script with some great hard-boiled moments and bits of nasty (for the 50's) violence. Also, you can't go wrong with Edger Buchanan as a crooked judge!Scott gives one of his typically tough, yet upright performances, while Tucker and Naish work well together and almost steal the show as the meanest of the Reno brothers.

We're having a run of Randolph Scott Westerns on British TV at present and I couldn't place this one when I saw it in the listings. But after a few seconds' viewing I remembered I'd seen it not so long ago; but for there being nothing else on TV that day I wouldn't have watched it again.The opening credits showed a strong cast, but it took Scott's entry some time into the film to notch the pace up a bit. Forrest Tucker's role seemed a bit subdued for him, especially given that he was meant to be the chief bad guy.I've always a little irritated when the ageing male lead has a romance with a much younger woman. Scott was around 56 when this film was made, and Mala Powers about 24. OK, at first he was using her to get in with the Renos, but I found his approach to her in the stores very hammy and oily.The scenery and photography were good, but I see from other comments that the former was nothing like the locale in which the story was based.

This is a well-cast, well-directed, tightly-scripted film (only 87 minutes). The cast is amazing for what had to be a fairly low budget RKO picture from the mid-1950's; Randolph Scott was an established star while Forrest Tucker, J. Carrol Naish, and Denver Pyle were all established, talented Western performers and Edgar Buchanan was one of the best Western character actors of all time. What hurts the movie severely and is its major flaw is the setting. Nothing about one single shot of the film looks anything like Southern Indiana or anywhere else in the Midwest, and exactly like California, where it was actually shot. This lack of authenticity is distracting, in some scenes more than others, but never completely destroys the fine performances. Like some of the others, I would like to know more about the historical Reno Brothers and how closely this film represents their true story; I'm sure that it's somewhat closer than Elvis' ''Love Me Tender'', which is about the same topic and came out the next year.

This is a very-much copied western which belongs technically to the category of Randolph Scott westerns; this large and interesting body of work itself should be divided I suggest into the 1940s B/W series, and the 1950s color series; this is one of the earlier color efforts, an expensive-looking production but with somewhat inconsistent color. In several of his better efforts, Scott's role was that of a law officer or detective infiltrating some group of schemers. The story-line here is a fictionalized biography by veteran Frank Gruber, with screenplay by Horace McCoy, detailing the events of the Reno Brothers' gang and their train robberies performed in rural Indiana c. 1866. Scott's character is Barlow, a veteran Southern spy with impressive credentials. When their agent operating with the gang is murdered (after the gang is set up for capture), the Peterson Detective Agemcy sends for Scott to work with agents Kenneth Tobey and Ralph Moody to infiltrate the gang himself. Their device is a staged train robbery faked by the team, and the promise of a $100,000 payoff in the future. The ruse works; Scott is accepted by the gang, including Frank Reno, its leader, played strongly by Forrest Tucker. But immediately Scott finds he has problems. One of the Reno family, Denver Pyle, has nothing to do with the crimes and Scott falls in love with Mala Powers, his sister, who is bitter and unhappy; of course when he turns out to be just another bank robber, she turns against him, despite their obvious attraction and his courtly manners. From this point on, Scott helps the others pull an unremunerative robbery and becomes Tucker's rival to be the head of the gang. Between runs to town to report to his partners, he also is introduced to the three inside men in the town from which the gang operates--played by fine actor Howard Petrie, Edgar Buchanan and "Bonanza's" TV sheriff talented Ray Teal. Despite setbacks, the entrapment of the gang works. In a long and well-done shootout, several of the gang are killed, along with Scott's partner. He is then free to reveal his the role he has been playing all along. Powers tries to shoot him at night, but she comes nowhere close and ends up in his arms. Then Pyle comes to warn the detectives that a mob has been formed, led by smooth-talking Trevow Bardette and Jimmy Lydon. Scott tries has to ride off to try to save the gang from being lynched. The film's ending is downbeat but historically accurate, bringing to the end a memorable adventure tale that might have been made differently but is very lively and well-made exactly as it is. The other members of the gang are Myron Healey and powerful J. Carroll Naish, plus others, with George Wallace as the sheriff of Seymour and William Phipps, Chubby Johnson and Holly Bane in smaller roles. Director Tim Whelna did a solid if unspectacular job of directing a very difficult film, with day, night, action, dialogue, interior, exterior and battle scenes. The cinematography by Ray Rennahan and the music by Paul Sawtell are very fine, and Walter E. Keller's art direction is above average also. I enjoy this Scott western as a transitional work and for its attempts to make a true-to-life historical fictionalized biography, for the mostly-implied-level idea on which characters interact in this swift-moving adventure, and for the authentic look and feel of the work. A very entertaining film by anyone's standards.