La taverne du cheval rouge

This film essentially begins with a drifter by the name of "Johnny Hart" (Rod Cameron) riding into a small town and upon noticing a nearby saloon decides to go inside for a drink. It's soon revealed that he is after a man who killed his partner but before he can identify the person, he becomes involved in a brawl which ends with an attractive woman named "Lorena Dumont" (Yvonne De Carlo) hitting him over the head with a whiskey bottle. Although she initially wants nothing to do with him, one thing leads to another and to their mutual surprise they get married within a couple of days. Unfortunately, things don't go quite as planned and not long afterward he is arrested for murder and is sent to prison. The scene then shifts to six years later with him having served his time and heading back to the same town to, once again, find the man who killed his partner. To his surprise, although his wife expresses no feelings toward him, he soon discovers that their one night together has produced a daughter-and whether they love each other or not--this creates its own unique problem that both of them have to resolve. Now, rather than reveal any more, I will just say that this was a rather odd Western which had a decent plot but for some reason didn't seem to quite realize its potential. I say this because the musical and comedic aspects didn't seem to mesh that well with the overall action and drama. At least, that's how it seemed to me. Be that as it may, while this certainly wasn't a bad film by any means, I believe a more serious approach should have been taken and I have rated it accordingly. Average.

On the run after shooting one of the men who murdered his partner, Johnny Hart (Rod Cameron) stops in a remote saloon and meets vivacious singer Lorena Dumont (De Carlo). Tempers and passions flare, and Johnny and Lorena waken in the morning married and with a jealous outlaw after them. When Johnny is sent to prison for six years, he returns to find an embittered Lorena living with their young daughter.

Filmed in glorious Technicolor, this Universal studio Western stars Rod Cameron and the beautiful Yvonne DeCarlo who make a great pair with their love-hate relationship. The scene where Yvonne slaps Rod then gets kissed times four garners some face expressions from DeCarlo which shows her comic side. Frontier Gal is a light, romantic-musical western with sometimes a chauvinistic theme, but it's humorous and lively enough to overlook this. Well it's a comedy as well, bordering with slapstick. Frank Lackteen as Cherokee - Cameron's servant- is hilarious with his one line answers "How." And "you talk too much." The latter is directed to women.

Cameron's character can be a bit mean-spirited as he rejects his daughter, says he's not interested in being father, but the little sprog changes his mind with her cute charm and then takes the sprog away from his mother. But he soon learns the error of his way. Needless to say, there's not much action, it's not a typical western, but the opening sequence was great with Cameron dismounting onto a tree limb and the horse goes and hides In some bushes so the posse chasing won't them see him. Nice climax sequence that rounds things up neatly.

Bad Man Rod Cameron is shotgun-married to saloon singer Yvonne De Carlo. After one night of honeymooning, he's arrested. When he returns from six years in prison, he discovers he has a five-year-old daughter.

Despite the usually sure comedy hand of director Charles Lamont, this movie annoyed me from the beginning, and my mood grew sourer as it progressed. Was it Cameron's one-note, offhanded performance? Miss De Carlo's I-love-you-don't-touch-me performance? The way plot points, like a daughter or a fiancee appears just as it is needed? Beverly Simmons' squeaky-voiced, I'm-a-cute-little-girl act? All those and more. At least Fuzzy Knight gets to show the reason he was known as an entertainer by playing the piano.

It's not enough. This was originally planned as a vehicle for Jon Hall and Maria Montez. Reportedly, Miss Montez, on seeing the script, refused the part. When the geniuses assigned the role to Miss De Carlo, they figured they didn't need Hall, and in the usual inspired manner, assigned Cameron as the leading man from SALOME WHEN SHE DANCED. Miss De Carlo doesn't dance, but she does sing, voice courtesy of Doreen Tryden.

Very atypical western,verging on slapstick farce ,with the longest slaps and kisses scene ever filmed .

She's the boss:Yvonne De Carlo runs the saloon and she reigns over men till a stranger comes .So begins an offbeat story ,part western ,with plenty of chases,part musical (even the daughter pulls her little tune ) ,part comedy .There are lots of domestic quarrels on an eventful wedding night,and it seems that the husband has the upper hand every time.An husband who has also got a straight bland fiancée who's got a "true" job (she's a teacher;says auntie:there are two jobs for a woman : one is respectable ,my niece's ,and one is scandalous ,yours!) These two ladies want the man to divorce Lorena .To make the matter worse,Lorena has also a suitor,a really jealous guy.

The movie is so-so but Miss De Carlo was a beauty and had plenty of go.

Frontier Gal (AKA: The Bride Wasn't Willing) is directed by Charles Lamont and written by Michael Fessier and Ernest Pagano. It stars Rod Cameron, Yvonne De Carlo, Andy Devine, Fuzzy Knight, Sheldon Leonard, Andrew Tombes and Clara Blandwick. Music is by Frank Skinner and Technicolor photography is shared by Charles Boyle and George Robinson.

What a mixed bag of a film! It begins with the high speed pursuit of Rod Cameron on horseback. He's our man in black and we shunt our way through absolutely gorgeous Technicolor enhanced locales. From there he hits town and quickly flirts with a ravishing De Carlo, flirting that goes so far as to use sexually playful violence as part of the process. This annoys local dude Sheldon Leonard, a macho muscle flexing contest occurs, a faux wedding is strangely arranged, Cameron bogs off for a few years, comes back to town, finds he has a daughter with De Carlo and the pair carry on warring as secrets begin to will out.

The story itself is utterly bonkers and tonally it is never at ease with itself as it unconvincingly tries to blend offbeat farce, action, drama and musical numbers. Some of the location photography around Kernville and Mammoth Lakes is sumptuous, the costuming gorgeous and sparkling in Technicolor (with a top print of the film now available). Yet these tech highpoints are undone by some real creaky money saving stage work, notably for the big finale as the scenery props wobble and the big dramatic "child in life threatening peril" sequences are blighted by appalling process work.

Cast are fine, very likable stars who are in on the nutty nature of the beast, with Beverly Sue Simmons as the precocious child of the play something of a revelation. The musical score is standard throwaway stuff from Skinner, likewise De Carlo's musical numbers - where I'm not convinced she is actually singing herself? There's also plenty here for the politically correct to get in a twist about, but personally it doesn't bother myself as I take it as intended for the era it was made. So all told, approach with caution because it's all over the place, but as wacky and as frustrating as it is, I still kind of enjoyed it - sort of... 5/10