Boring, over-political, tech fuzed mess

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Exactly the movie you think it is, but not the movie you want it to be.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Producer: Robert Fellows. Copyright 6 October 1944 by RKO Radio Pictures, Inc. New York opening at the Palace: 14 December 1944. U.S. release: 29 September 1944. U.K. release: 7 May 1945. Australian release: 12 April 1945. 8,000 feet. 89 minutes.NOTES: Wayne's fist association with producer Robert Fellows with whom he was later to form Wayne-Fellows Productions. Wayne liked the script of this one (co-written by actor Paul Fix) so much he tried to persuade John Ford to direct. Although Ford declined, some members of the Ford stock company, notably Ward Bond and Russell Simpson, were signed on for the cast.COMMENT: One of Wayne's best westerns, with plenty of vigorously staged action, an intriguing plot, lots of interesting characters, loads of atmosphere, and an agreeably honed characterization for the Duke himself. It's tempting to say what a pity Ford knocked back this assignment, but Marin has actually done quite a super job. Of course he was helped no end by experts like Theron Warth (a graduate of RKO's film editing department, making his debut here as associate producer) and cinematographer Robert de Grasse.It's good to see Wayne re-united with some of the players from his early 30s career, most notably ultra-smooth villain Ward Bond, rough-house heavy Harry Woods, cowardly off-sider Paul Fix, helpful barkeep Cy Kendall and most particularly George Hayes, a real audience-pleaser here in a made-to-order role as a cantankerous, woman-hating stagedriver. (Wayne is also introduced as something of a cynical misogynist. "I never feel sorry for anything that happens to a woman," he answers an early leading question from Hayes, to that driver's surprise and evident delight. But his attitude noticeably softens later on in the presence of both ultra-feminine heroine Audrey Long and more masculine Ella Raines).Elisabeth Risdon's remarkably forceful performance as Miss Martin deserves special praise. We also liked Emory Parnell's blustering sheriff and Walter Baldwin's slovenly coach-stop man. In fact, all the characters are most skilfully played. Although Wayne rightly dominates the action, at more than one stage there are so many interesting characters jostling around in the background, they threaten to spill off the screen.Production values are A-1. In short, a first-class western.OTHER VIEWS: Exciting, fast-paced western, with a brilliant opening sequence, a delightfully aggressive heroine, fine photography, and a script that is as rich in characterization as in action and originality. Wayne has one of his best roles as the charmingly gutsy if somewhat cynical hero.

Except for the talky ending -- reminding me of the botched ending of Alfred Hitchcock's "Psycho" -- this is one excellent movie.John Wayne gives an even-better-than-usual performance; George "Gabby" Hayes was his usual great self, with some really wonderful scenes; and Ella Raines got probably her best role, one that made her a perfect strong match for the Duke.Russell Wade made his character convincingly weak, and Donald Douglas gave an amazingly under-played performance and made his character very sympathetic.Audrey Long has only 32 credits at IMDb and, with her beauty and ability, she should have had many more. She was with us until 2014, but played her last role in 1952, just eight years after "Tall in the Saddle." What a shame we don't have a chance to see more of her.Paul Fix showed again what a versatile actor he was, and Harry Woods and Raymond Hatton, with their short parts, were simply masterful.Really there were too many excellent performances from the very great Ward Bond and superlative players who didn't and often don't (like Hank Bell) get credit.That they got a chance to shine in "Tall in the Saddle" means we owe a thanks to both original story author Gordon Ray Young and screenplay writers Michael Hogan and, yes!, Paul Fix, a man of genuinely many talents.Director Edwin L. Marin gave us one of his best, too, and "Tall in the Saddle" is simply one great, but not perfect, movie. I watched it on a DVD coupled with "The Train Robbers" and I highly recommend it.

very good screenplay with the nicest and funniest supporting actor playing both drunk and smart guy at the same time. Wayne also played well in this gem with two pretty young actresses. these two young ladies were the stereotypes of females in the western genre films; one strong, tough and independent, while the other, educated, reserved, conservative, timid sometimes, yet when needed to be strong and decisive, could also became strong willed and stubborn. Wayne did a great job to handle all the tough situations with handgun and fists. the screenplay was well crafted with lot of funny and wisecracking dialog, delivered by the funny old drunk, a stage coach driver and at the same time, a decent soul to be a sidekick when you needed it. lots of fun and lots of tensions, but everything turned out to be just fine and everybody got what he or she deserved. a rarely fine old western in the best form that had been long gone today. beautiful cinematography, beautiful scenery, even in black and white. very enjoyable indeed.

Several things make this B western look and act like an A picture. Not least is the obvious 'chemistry' between Wayne and Ella Raines.For once a female dishes it out and Wayne loves it. But, the most important aspect of this film is the characterization Wayne imbues in his role as 'Rocklin', a somewhat mysterious cowpuncher. He seems able to make men stop in their tracks by a certain glare or tone of voice. He is no longer a sweet natured cowpuncher who somehow stumbles into his predicaments.This time he's rather mean and if he can answer you in one or no words he does.In later years Wayne developed this "loner"/ "don't mess with me" type to such a degree that it has become part of movie lore.We take it for granted .This was the film where it burst full fledged on to the screen.And I believe the "macho walk" for which Wayne is so famous was displayed as never before in a showdown with his old nemesis in many 1930's films, Harry Woods. For me this was the obvious lead-in to his monumental performance in "Red River"