Rent The Gunfighter (1950)

Western Noir - The Gunfighter review by Steve

Intelligent, loquacious western noir which illustrates the psychology of the frontier outlaw rather than presenting much as realism. It feels like a tv play, but with major studio resources; principally Gregory Peck as a former desperado who has lived long enough to be haunted by his reputation as the fastest gun around.

His character is loosely based on real life killer Johnny Ringo. Everywhere he goes, some young punk wants to beat him to the draw. Everyone with a grievance believes he is to blame. It’s a study of small town mob mentality, as well as an interesting- if schematic- attempt to get inside the head of the gunfighter.

This was released near the trigger of the western golden age, and influenced many pictures which present the gunman as a lonely wayfarer, pursued by his own legend. Who has to kill, or be killed. Like Shane (1953). Peck’s lowkey performance isn’t as mythic as Alan Ladd. This is stripped down. Plus there is some effective humour.

There’s a textbook demonstration of Hitchcockian suspense as the gunfighter delays his departure to see an estranged wife (Helen Westcott), while his nemesis closes in. The ’50s western is typically in Technicolor, but this has a high contrast b&w look which suits the noir-ish scenario. It may even appeal to those not usually attracted to the genre.

Moustached Peck - The Gunfighter review by NO

Although the outcome & story were predictable ,I enjoyed the film.Gregory Peck is always worth watching & interesting to see an early
performance from Karl Malden.

When Bad Men Grew Moustaches, and Worse Ones Couldn't - The Gunfighter review by The REAL Film Cricket

A western from the 50s but certainly following in the footsteps of other westerns from that era. Much more of a character study of a man trying to gain some redemption we see a Gregory Peck sans moustache, apparently against the wishes of the studio head, spending a great deal of movie trying to forget his past and move onto a different, brighter, settled future. The trouble is when you lived a tough, unforgiving past trying to shake that off is difficult. The Shootist with John Wayne followed the same path and is more or less the same story.
Here we see a stark monochrome film with an adult theme which compared to some of the output of 1950s western films was clearly setting the future up for a more dirty, unshaven, morally ambiguous future for westerns on the silver screen. The mood is downbeat throughout and threaded through with a feeling of impending doom catching up with the participants, the path they took in life was always leading here and as they get older it gets closer and closer.

Peck is impressive as the world-weary gunfighter whose legend is a huge boulder chained to him that he drags from town to town in the old west and he is well supported by the Millard Mitchell as his former ‘running mate’ Mark Stret the marshal. Both men want to leave their past behind but Stret has managed and Ringo wants to. The way his life choices is further outlined to him and audience when a cheerful rancher, pops into the bar, has one drink, briefly outlines his life and pops out again is odd and perhaps a tad heavy-handed but the point is reinforced for sure. Karl Malden rounds out the triumvirate of men from the old days who is pleased to see Jimmy, hankers for nostalgic old days but really sees the commercial opportunities in a gunslinger far outweighing any ‘trouble’. He is redeemed as a character by being basically decent.
The female side of cast is mainly supplied by Helen Westcott as the estranged wife of Jimmy, Peggy, who I found as a character a bit hard to believe she hung out and married hell-raising gunslinger Jimmy Ringo, of the main actors she seems more of her era, more actorly and dare I say a bit ‘hammy’ but not enough to detract. Jean Parker and the more worldly and thereby more realistic Molly, Ringo’s old partner Bucky’s wife, gives the other female support as the non-romantic interest who ultimately intervenes to the extent that Jimmy stays longer than he should and she is very good in a limited role.

As with stories and films of this era if Peck is the, admittedly anti-hero, of this film the makers need the real black-hat. This role is filled by the whip-thin interesting looking Skip Homeier who plays his role as the spoiled and unlikeable Hunt Bromley with great skill. In lesser hands it could have been a sneering moustache-twirling pantomime baddy but with Homeier and his callow, youthful, ‘he hasn’t started shaving yet’ looks he fits the role perfectly and on the right side of the line of melodramatic. An interesting actor he mainly played youthful villans after coming out of his child-acting career before retiring in the 70s. He certainly had that look and clearly played to his strength.

Oddly enough for a film of his era there is no score, particularly in the more dramatic moments, I for one liked this but it is a strange thing when you notice it. Equally as impressive for me was the lack of gunplay during the running, for a gunslinger western this is impressive and the writers and director have clearly tried to make the story about the man and not his deeds.

In line with the noir style in Hollywood the film has no happy ending and no resolution, it starts with Ringo riding into the scene and ends with Ringo going out.

All in all, for a 1950s gunslinger western The Gunfighter is intelligently and well-made and acted and does ask some questions rather than just try to elicit boos and cheers.

Good work stands up whenever it was made, this much we should know by watching The Gunfighter