Have Gun - Will Travel

The plot and the character, Paladin (which is not actually the gunfighter's name; he takes the moniker after being challenged by a character named Smoke) were ahead of the times for 1957. Paladin is a multilingual gentleman of letters who sees no need for macho bravado, is a champion of human rights (regardless of race or nationality) and who proves that real men can be literate, eloquent, and even wear a satin robe.

Having viewed the Columbia House re-release of twenty-one episodes of "Have Gun", it amazes me how much Paladin is a renaissance man. Paladin laughs up his sleeve as his adversaries fumble in comic absurdity, trying to prove just how masculine they are. Psychology, not a pistol, often is the weapon of choice. Even so, after twenty-two minutes of clever strategy and elocution, the fist and the forty-four are often called upon to end the story, lest we run out of time.

No small surprise that "Have Gun" provided writer Gene Roddenberry with a creative garden to develop ideas for another series (deemed by the omniscient sages of networkdom to be "too cerebral"), "Star Trek".

Richard Boone was brilliant as Paladin and the opening where he draws his gun to tension-building music was one of the best of any program made during the late-fifties. The half hour programs were always socially and politically poignant, with the hero always prevailing over injustice, discrimination and hate.

The craggy-faced Boone dresses in black, making him a possible icon for the motorcycle sub-culture of our society. A typical "anti-hero"....establishing his OWN justice and being an avenging angel, tormenting those who have been unjust. Seemingly of the opinion that less is more, Paladin never EVER used his gun unless absolutely necessary and somehow, in the process, scared all malefactors crap-less. We could use more of that humbleness today.

Shows like "Dog - Bounty Hunter" and "Orange County Chopper" once had the potential to be modern versions of Paladin, but are quite lost on me, due to today's propensity away from mental and moral stability and toward "quirkiness." Today producers feel more is best and less is nothing. This disease is epidemic in the entertainment productions of the early 21st century. Television was truly meant for great programs like Have Gun - Will Travel.

What a remarkable half hour of allegory and metaphor. Starting with the premise that our protagonist is a fellow who others don't like - he's a gunfighter. And that he charges a lot - $1,000 - and that he is cool - wears black and uses a business card - and he does good deeds for others.

And he doesn't like to use his gun to solve problems.

This vehicle is used over and over again to good effect. He solves interesting problems that span a large part of the country and a large array of people - blacks, chinese, mexicans, bums, crooks and good guys.

Writers include Roddenberry.

Good stuff, mostly.

I recently bought season one of "Have Gun - Will Travel" on DVD. I'm only twenty years old, but I've always had an interest in the golden age of television and westerns. I've never seen this show before purchasing it... but I've heard my father talking about it before and it sparked an interest.

Unlike "Gunsmoke" and "Bonanza", "Have Gun - Will Travel" is a lot darker (for it's time, especially) and a lot more in-depth - story-wise and moral-wise -- but not too dark, mind you. It's tasteful and holds important morals. Richard Boone, who plays the jack-of-all- trades hero Paladin, does a terrific job playing the classy scholar gun-for-hire who often quotes Shakespeare. The show relies more on character interaction and story, as opposed to the cliché gun slingin' and horse riding (although they are included tastefully into the story lines).

Overall, this is an extremely fun show. If you like the '50s Disney "Zorro", starring Guy Williams, than you'll love this. Amazing for any Western and Drama fan, too.

4.5/5, quality entertainment, writing, production and acting.

I suspect this series grew out of a radio show of the early 50's called Frontier Gentleman with John Dehner as a polished force for good in the Old West. Of course, a character like that cuts against the stereotype of the western hero, who, whatever his level of gun-slinging skill, is rarely able to quote Shakespeare or distinguish a Rothschild '29 from a swig of whiskey. But, of course, Palladin can. In fact, the guy in black knows all the arts of refinement, which not surprisingly came to separate him from the hundred other Western heroes of that day.

But casting an intellectual gun-fighter for a macho Western series presents a tricky challenge. The actor's got to be authoritative whether slinging a gun or fingering a glass of wine, and also be masculine enough to command respect in both regards. And this is where the series really succeeded. They got Richard Boone, an actor who can make you believe most anything. Plus, his homely, craggy looks are unlike any of the many handsome heroes of the day. At the same time, dressing him in black, with a mysterious background and a mythological name pretty much completes the package that produced big success in the ratings, lasting an unusual six seasons.

The opening sequence in San Francisco usually played up Palladin's refinements and success with the ladies, even dressing him often like a dandy. After that, he'd hire out, change into his black work clothes, and go on the road to some risky situation. My favorite stories are those that have him trying to figure out where the truth lies, because often his employer would shade the truth for various reasons. Then, our knight-without-armor would have to rely on instinct and a sense of honor since he's not a lawman with a duty to perform. What duty he does have comes from a knight's sense of honor that only he is responsible for, reinforcing his image as an ultimate loner.

Wisely, the script would occasionally humanize Palladin's superior skills by having him reflect on the strange ways of the world or on the wisdom of his actions. For example, he might stare off in silence at the end of a particularly troubling story, or quote something wise that would make us think. These were important moments that added a thoughtful dimension too commonly missing from other horse operas of the time. Then too, even weak stories were often compensated by Boone's commanding presence.

I don't know if HGWT was the best series of that six-gun saturated era—the early Gunsmoke (1955-60) was awfully good as was Sam Peckinpaugh's brilliant but short-lived The Westerner (1960). Nonetheless, the guy in black is definitely worth catching up with, along with that catchy title tune.