There's a handful of actors from the Forties and Fifties era that don't appear like they belong in Westerns. Fred MacMurray is one, and Ray Milland is another, appearing here as a trick shot artist with a secret he's hiding in order to ply his trade. With sympathies that lean toward the Confederacy, Johnny Carter (Milland) decides to throw in with some Southern miners being victimized for their copper diggings. He winds up in a somewhat dubious relationship with saloon gal Lisa Roselle (Hedy Lamarr), who's part of a syndicate robbing the copper ore train on it's runs to Mesa City.
Lamarr's role here didn't seem quite credible when the story fully played out; her affection for Carter outweighed her greed, so she eventually became a good guy. So what about all the robberies that she benefited from that occurred before her turn in this picture? But oh baby, how about those flashing green eyes of hers - wow! There's one scene with Milland where they just jump right out and grab you.
So even though Milland looked a bit out of place here, I still have to give the film credit for his character pulling a Durango Kid move when he switched horses following his ambush on the attempted Travis robbery of the ore train. He even switched from a white horse to a black one like Durango would have done ditching his mask and outfit in an undisclosed location. Funny, but outside of Charles Starrett's programmers, I don't think I've seen that done anywhere else, which is why it was unique enough to mention.
The other thing unique enough to mention has to do with the casting of Hope Emerson in the story as the saloon boss at the Hotel Rainbow. I became a big time Emerson fan right after seeing her in the 1950 prison flick "Caged". She made this one right after, and has a few good scenes making her presence felt. I sure wouldn't want to get in her way for any reason.
For the most part, this is a passable yarn, more of a time filler than an intriguing Western. Keep an eye on that scene when Johnny Carter takes a heavy spill in the creek while riding his horse. It's toward the end of the story, with both horse and rider completely submerging. The most amazing thing about it - Carter's shirt was only partially wet!
Lamarr's role here didn't seem quite credible when the story fully played out; her affection for Carter outweighed her greed, so she eventually became a good guy. So what about all the robberies that she benefited from that occurred before her turn in this picture? But oh baby, how about those flashing green eyes of hers - wow! There's one scene with Milland where they just jump right out and grab you.
So even though Milland looked a bit out of place here, I still have to give the film credit for his character pulling a Durango Kid move when he switched horses following his ambush on the attempted Travis robbery of the ore train. He even switched from a white horse to a black one like Durango would have done ditching his mask and outfit in an undisclosed location. Funny, but outside of Charles Starrett's programmers, I don't think I've seen that done anywhere else, which is why it was unique enough to mention.
The other thing unique enough to mention has to do with the casting of Hope Emerson in the story as the saloon boss at the Hotel Rainbow. I became a big time Emerson fan right after seeing her in the 1950 prison flick "Caged". She made this one right after, and has a few good scenes making her presence felt. I sure wouldn't want to get in her way for any reason.
For the most part, this is a passable yarn, more of a time filler than an intriguing Western. Keep an eye on that scene when Johnny Carter takes a heavy spill in the creek while riding his horse. It's toward the end of the story, with both horse and rider completely submerging. The most amazing thing about it - Carter's shirt was only partially wet!