It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

One of those movie experiences that is so good it makes you realize you've been grading everything else on a curve.

Director: LEWIS COLLINS. Screenplay: Joseph Poland. Story: Myron Healey. Photography: Ernest Miller. Film editor: Sammy Fields. Music: Raoul Kraushaar. Art director: David Milton. Set decorator: Vincent Taylor. Dialogue director: Stanley Price. Set continuity: Pearl Lester. Sound recording: Charles Cooper. Producer: Vincent M. Fennelly. A Frontier Pictures Production.Copyright 2 December 1951 by Monogram Pictures Corporation. No recorded New York opening. U.S. release: 2 December 1951. U.K. release through Associated British-Pathé. 53 minutes. Cut to 48 minutes for U.K. release.Alternative title: LONE STAR LAWMAN.COMMENT: Here's a "B"-grade western that will especially please our younger fans. No females in the cast at all. Not one. On the other hand, excellent action footage includes a marvellous stunt in which the sheriff is shot from his horse right in front of the camera. Attractive actual location photography too. A pity Brown is getting a bit paunchy, but he still handles himself well in a fist fight. Also a shame that a few dull passages intrude - these were cleverly eliminated from the U.K. version - but director Collins keeps things moving.

During the 80's and early 90's, I managed to collect most of the extant Johnny Mack Brown westerns made at Monogram. While there is a sameness to some of them (true of virtually any western series--especially when you watch more than one of them each day!), on the whole they are a quality lot and, to me, the last GREAT b-movie series Westerns. By the late 40's, many of the western actors and crew members were probably available for work inexpensively, and Monogram put many of them to work in this series. As many of the films featured similar supporting casts, different films would feature some of them and in other films those same actors would have small walk-on roles not even credited in the beginning titles. Virtually EVERY supporting actor in these films is a western veteran who is a pleasure to watch. When people the stature of Lyle Talbot and John Hart are in a film and NOT listed in the opening credits, you know you've got a solid cast. Brown was always one of the best actors in b-westerns (check his early credits to see some of the major stars with whom he worked and held his own), and at this point in his career he had a depth and warmth and gravitas that commanded attention and respect, yet he lacked the aloof quality of a Tim McCoy and seemed approachable. The under-rated Jimmy "Shamrock" Ellison joined Brown in a number of Monograms, and he's fine here as a new sheriff with a secret. I. Stanford Jolley is superb as a grizzled robber with a link to Ellison that Ellison wishes he could forget. There are a number of genuinely emotional scenes involving Ellison and Brown, and the plot is quite clever (the story, incidentally, was written by actor Myron Healey!). The dozens of Johnny Mack Brown "Monogram" westerns are a fine body of work that can still be enjoyed today...when I'm watching one and my children wander into the room, they usually wind up staying for the rest of the film.