Copyright 12 February 1947 by RKO Radio Pictures, Inc. U.S. release: 2 February 1947. No New York opening. U.K. release: 14 February 1949. Australian release: 20 May 1948. 5,194 feet. 57 minutes.
SYNOPSIS: Raymond Burr plays a ruthless saloon-owner (why are publicans always the heavies in these movies?) who wants to control all the land in the Strip, but his plans are thwarted by the return of a young settler (James Warren, naturally)!
COMMENT: If the synopsis of the 1925 silent version of Zane Grey's novel (starring Owen Moore and Constance Bennett, directed by the great William K. Howard for Paramount) is anything to go on, this sound picture bears little resemblance to the original book.
Never mind, it's a most entertaining movie anyway. Director William Berke tries really hard to follow in the shadow of William K. Howard, and excels himself both in the dialogue (long tracking shots) and action spots (running inserts, good stunt-work). Norman Houston's able screenplay maintains solid interest throughout. Photography and other technical credits rate as really first class, whilst production values appear welcomely expansive.
And it's good to see Raymond Burr contributing his usual impressive performance as the heavy.
SYNOPSIS: Raymond Burr plays a ruthless saloon-owner (why are publicans always the heavies in these movies?) who wants to control all the land in the Strip, but his plans are thwarted by the return of a young settler (James Warren, naturally)!
COMMENT: If the synopsis of the 1925 silent version of Zane Grey's novel (starring Owen Moore and Constance Bennett, directed by the great William K. Howard for Paramount) is anything to go on, this sound picture bears little resemblance to the original book.
Never mind, it's a most entertaining movie anyway. Director William Berke tries really hard to follow in the shadow of William K. Howard, and excels himself both in the dialogue (long tracking shots) and action spots (running inserts, good stunt-work). Norman Houston's able screenplay maintains solid interest throughout. Photography and other technical credits rate as really first class, whilst production values appear welcomely expansive.
And it's good to see Raymond Burr contributing his usual impressive performance as the heavy.