User reviews

John Wayne's first "A" film at Republic is a good story carried by a strong cast. One year after Stagecoach, he still takes second billing after Claire Trevor in their third of four pairings together. They worked extremely well together, and remained close friends for the rest of their lives. Walter Pigeon is given the part of the heavy, Roy Rogers gives the finest acting performance of his entire career, and veteran character actors Gabby Hayes and Marjorie Main round out the cast. Veteran director Raoul Walsh keeps the story moving and gives emotional depth to the characters that was unusual for Republic films at the time.

Set in pre-Civil War Kansas, when both Northerners and Southerners were scrambling to settle Kansas and decide its political position on slavery, the story revolves around an uneducated Texas cowboy, Bob Seton (Wayne), who finds himself in conflict with local schoolteacher Will Cantrell (Pidgeon) over both the job of Marshall in Lawrence, Kansas, and the hand of the local Southern banker's daughter, Miss Mary McCloud (Trevor). When Seton appears to have won not only the job, but also Mary's heart, Cantrell decides that the way to power lies through lawlessness, and forms a band of freebooters who ravage both Northern and Southern settlements, causing destruction and terror in Kansas.

While the film is not totally historically accurate, it does do a good job of portraying the viciousness and ruthlessness of pre-Civil War Kansas. It is told from the Northern point of view, and is a nice contrast to Errol Flynn's Santa Fe Trail, which came out the same year (1940) and portrays similar events in "bleeding Kansas" from a Southern point of view.

Part-Western, part-Civil War movie, Dark Command is one of Wayne's best early starring roles. Fans of his, or of the genre's will not be disappointed.

After John Wayne became an A picture star with the release of Stagecoach a year earlier, Republic didn't know quite what to do with him. In fact they put him back in some Three Mesquiteer films for a while. I'm sure it took a little negotiating on his part, but Republic finally decided to give him an A film under its own banner. Which set a pattern for his career over the next decade. The Duke would do at least one prestige film a year for Republic, but Herbert J. Yates would make just as much money loaning him out to the big studios also.

This is not the story of William Quantrill. In fact like Inherit the Wind where the real life Clarence Darrow and William Jennings Bryan are given pseudonyms, Quantrill here is named Cantrell. He's played quite well by a loan out from MGM, Walter Pigeon.

Pigeon in essaying Cantrell has captured the character of a man desperate to succeed and not particularly caring about what he has to do. His character is conveyed in the scenes he has with Marjorie Main as his mother. When she and Pigeon talk about the family of outlaws they left in Ohio, his background is vividly portrayed. Their words and the way they deliver them give us what Piddgeon's real nature is.

In fact Pigeon was heading towards the height of his career. Next year in How Green Was My Valley and the year after in Mrs. Miniver he was in back to back Best Picture Oscar winners. Not too shabby for that man.

John Wayne gets his third film with Claire Trevor which almost qualifies them as big a screen team as the Duke with Maureen O'Hara. She was in his breakthrough film Stagecoach and Alleghany Uprising with Wayne. Later on she was also in the cast of The High and the Mighty as one of the passengers on that nearly ill fated flight.

The Duke sits real tall in the saddle in his role as Bob Seton, the man who had a host of sayings from Texas. He's got an appropriate acolyte here as well in Roy Rogers who made one of his few departures from his own B western films at Republic. Rogers is Claire Trevor's younger brother in Dark Command with Scottish banker Porter Hall as their father.

Pigeon's ruthlessness is never more graphically demonstrated than when he both defends Rogers in court after Rogers murders a northern man in Lawrence, Kansas with Pigeon as his defense attorney by day. But as a night rider he and his gang intimidate the prospective jurors with the inevitable results.

Look for some good performances by both Gabby Hayes and Raymond Walburn in roles that were tailor made for the talents of each.

The film is directed by Raoul Walsh who gave John Wayne a first chance at stardom in The Big Trail back in 1929. That film flopped for many reasons, but John Wayne eventually made it to the top. Not too many folks in Hollywood get a second chance, but Wayne sure made the most of is. For reasons though that I can't explain, he and Walsh never worked together again. Odd because Wayne was definitely the kind of action star Walsh worked with best.

Although John Wayne is the hero and he's his usual Duke, the film really turns on Pigeon's performance as Cantrell. It's the most complex part in the film and it's a bit of offbeat casting for him. Still I recommend it to John Wayne fans wherever they be.

Few people did westerns better than John Wayne, few directors did them better than Raoul Walsh, and NO studio did them better than Republic--and when you put the three of them together, the results are pretty near unbeatable.

This film, based on the raid on Lawrence, Kansas, during the Civil War by the Confederate guerilla Quantrill, bears little relation to the actual event--but if you want a history lesson, turn on the Discovery Channel. Instead, just sit back and marvel at the rousing action sequences that Republic was renowned for, enjoy the sea of great old cowboy actors (Gabby Hayes, Harry Woods, Wally Wales, Trevor Bardette, Glenn Strange, etc.), check out the performance of a young Roy Rogers (he's actually very good), and enjoy the talents of masters like Wayne and Walsh at their prime--and remember that this is the kind of movie people are talking about when they say, "They don't make 'em like they used to."

If the South can make a case that the abolitionist figure John Brown was not a martyr but a maniac, murderer, and traitor, the North can point to the so-called pro-Southern guerilla leader William Clarke Quantrell or Quantrill as a bloodthirsty killer and thief, and the trainer of a generation of criminals (i.e., his followers included Cole Younger and Frank James...and maybe Jesse James too). The fact is that Bloody Kansas was where the violence that became our Civil War began, and it lasted there for more than the four years of the actual war. There are few movies that tackle this story. SEVEN ANGRY MEN and SANTA FE TRAIL gave us versions of Brown's story. There is a film called THE JAYHAWKER (with Fess Parker and Jeff Chandler) about a pro-Southern fighter in Kansas. And there are about four mentioning Quantrell, though none are totally factual. Most though do touch on the one event of his career that everyone recalls: the massacre at the town of Lawrence, Kansas in August 1863. Lawrence was the center of the abolitionist movement in the state, and it's leading citizen was James Lane, a particularly violent anti-slavery fanatic who became first Senator from the state. Quantrell was responsible for ordering the deaths of nearly 150 men and boys, but failed to get Lane (whom he wanted to burn at the stake) - the Senator managed to hide in the field of corn in the back of his farm. Quantrell barely survived the war - he was shot in the back, trying to flee Federal troops in Kentucky where he had gone in a ridiculous plan to reach Washington and assassinate Lincoln (little did he know someone else had similar plans).

This film culminates in the attack on Lawrence - but here Quantrell is beaten back, when Seaton (John Wayne) reaches the town to warn the citizens that the guerillas are on their way. In short, DARK COMMAND shows that the sacking of Lawrence was a failure. Regretably it was a success.

Quantrell (here Cantrell) was a teacher at one point of his career, but he was also a thief and murderer before he found he could turn himself into a guerilla chief. His patriotism is still questioned. Southern leaders like General Sterling Price never fully trusted him - they suspected his motives and goals, and did not like the unregimented nature of his followers. Still, however, they let him have his semi-independent command. To be fair the North too could have violent "allies" in their cause. Witness the actions, in 1862, of General John Turchin, who let his Federal troops loot a southern town. Turchin was sidetracked for awhile, but back on the battlefield later in the war.

Keeping in mind,then, that the film does take liberties with the historical record, it remains the best film about Quantrell. It does capture the spirit of sectionalism that rent Kansas society apart, and it does capture the nature of Quantrell and his opportunism. In Walter Pigeon it has an interesting surprise. Pigeon is (with Robert Montgomery and Franchot Tone and Robert Young) one of the leading second string leading men at MGM in the 1930s and 1940s, usually in comedies. In his case he also was teamed (by accident, as it turned out) with Greer Garson in a series of films from MRS. MINIVER onward. Here he has one of his rare western roles (another is as the sheriff in THE GIRL OF THE GOLDEN WEST with Eddy and MacDonald), and one of his few villains (another would be Morbeus in FORBIDDEN PLANET). He is quite effective - witness the scene when he addresses the jury at the trial of Roy Rogers - a jury he has individually intimidated in a nightrider disguise - repeating the word "pain" again and again. This performance is the central one, though Wayne's Seaton is suitably relaxed and a balance to Pigeon. Roy Roger's young McCloud is a surprise too - as he shows a hurt anger in much of the film. Highly unusual for him. Claire Trevor gives her normal good performance - she has a nice chemistry with Wayne, and also does well with Pigeon. In the support one can name Gabby Hayes, Marjorie Main (ultimately a sad performance, reminding one of her similarly unhappy mother of a monster in DEAD END), and Porter Hall as the stubborn banker father of Rogers and Trevor. Even Raymond Walburn has some funny moments, one as a non-paying customer of Hayes.

Finally, take note that this film is based on a tale by W.R.Burnett. Forgotten by most of the public, he was an above average pulp novelist who gave the world LITTLE CAESAR, HIGH SIERRA, and WHITE HEAT. Usually he did prototypes of film noir (especially WHITE HEAT), so DARK COMMAND is a pleasant surprise that he could handle westerns as well as crime.

Set in 1860's Kansas, the story concerns Will Cantrell (Walter Pidgeon), a seemingly harmless school teacher who is secretly the head of an outlaw gang that commits robberies and murders across the state. In Lawrence, Kansas, newcomer Bob Seton (John Wayne) takes on the job of marshal, putting him at odds with Cantrell. They also spar over banker's daughter Mary McCloud (Claire Trevor).

This is a fictionalized version of Quantrill's Raiders. It was unusual seeing Pidgeon in this kind of role. He wasn't bad at all. I liked Gabby Hayes as Wayne's dentist sidekick, and Marjorie Main as Pidgeon's disapproving mother. Claire Trevor received top billing, a testament to the various stars' standing at the time. Western hero Roy Rogers plays Trevor's naive young brother who joins up with Pidgeon, not knowing the true nature of his exploits. Again, it was strange seeing Rogers in such a lesser supporting role. The movie's entertaining, regardless of whatever liberties are taken with the history involved. The film earned Oscar nominations for Best B&W Art Direction, and Best Score (Victor Young).

John Wayne (as Bob Seton) stars in a Civil War-era film wherein he runs for Marshall of a Kansas town, against wicked schoolteacher Walter Pidgeon (as Will Cantrell). Of course, they are rivals for the attention of a woman - beautiful Claire Trevor (as Mary McCloud). Roy Rogers adds additional charm as brother McCloud. The story is rather more ordinary than intriguing, but the western scores on several fronts…

First, the direction by Raoul Walsh is outstanding. The production is well-mounted; it includes the expected exciting climax, but that's not all... Even better than the climatic ending is a spectacular sequence involving a stagecoach. Don't miss it! The indoor scenes are great, too. Watch the scenes in the Barber Shop, for example: witness the sets, direction, and photography. The placement of characters and objects, along with the great street outdoors, provide terrific visual depth.

The story doesn't do the production justice, however. And, some of the performances are merely adequate; and, sometimes they seem unfocused. Mr. Pidgeon's is probably the most consistent of the main players. Mr. Wayne and some of the players might have improved with some additional worked on their characterizations; and, if the story was sharper, "Dark Command" might have been a truer classic.

******* Dark Command (1940) Raoul Walsh ~ John Wayne, Claire Trevor, Walter Pidgeon

Loosely based around a true story, Dark Command sees John Wayne play Bob Seton, an uneducated cowboy from Texas who wins around the people of Lawrence, Kansas to become their town Marshall just prior to the outbreak of the civil war. This angers the previously respectful town teacher, Will Cantrell (Walter Pidgeon), who after being beaten on the vote by Seton, forms guerrilla groups to raid, pillage and gun run around the Kansas countryside. Seton, now ensconced in the ways of the law, sets about crushing Cantrell and his unfeeling raiders, but there is also another matter at hand. Both men have deep affection for the same woman, Mary McCloud (Claire Trevor appearing with Wayne again after Stagecoach the previous year), so things are just that little bit more spicy between them as things start to come to a head.

Directed by Raoul Walsh and adapted from the novel by W.R. Burnett ("Little Caesar" & "High Sierra"), the picture also contains fine support from Roy Rogers, Gabby Hayes and features a pleasing score from Victor Young. Though historically dubious, Dark Command is no less enjoyable for being a creaky distortion of the "Quantrill's Raiders" (Re: Cantrell} period in history. Those after a history lesson would be well advised to source from elsewhere in that respect. Catching John Wayne just as he was about to become the towering presence he was, the film also serves as notice to a time when stunts and character interplay were precious commodities. Walsh, ever the sharp eye for action, delivers some wonderful sequences here, horses and carts are a thundering, even careering over cliffs at one point. Whilst the final raid on Lawrence is a blood pumping feast for the eyes. But it's with the feel of the film that it ultimately succeeds as a period piece of note. The mood is dark as the civil War looms, slave trading and gun running sit distastefully with dubious politics, and then the war, with Cantrell and his raiders taking their spoils of war leaving a particularly nasty taste in the mouth. All of which is moodily cloaked in a Raoul Walsh inspired sheen.

A tip top production all round, and a fine cast on form makes Dark Command a must see for Republic Studios enthusiasts. See it if you can. 7/10

After the spectacular success of John Wayne in "Stagecoach", Republic realized they actually had an 'A'-list star...still making 'B' movies! While Duke was on loan to RKO for "Allegheny Uprising" (continuing to 'farm out' their biggest star out to major studios would provide a MAJOR source of cash for the small studio), Republic worked on creating their first 'major' western, borrowing MGM's Walter Pigeon, top Warner director Raoul Walsh (who'd directed Wayne's failed initial 'starring' role, "The Big Trail", ten years earlier), Claire Trevor (in what would be her third teaming with Wayne in two years), rising star Roy Rogers (who'd inherited the "Singing Cowboy" roles a dubbed Wayne had played in the thirties), and ever-popular Gabby Hayes (a frequent Wayne co-star for nearly a decade).

The result of all the assembled talent was a well-crafted, if still modestly-budgeted film, showcasing Duke's charisma and 'star' quality. As an illiterate but straight-talking Texan in Lawrence, Kansas, Duke wins the hearts of the townspeople and (eventually) banker's daughter Trevor, over intellectual schoolteacher William Cantrell (Pidgeon, playing a variation of infamous Southern guerrilla fighter William Quantrell). With the beginning of the Civil War, Cantrell, showing the signs of insanity his mother (the ever-wonderful Marjorie Main) had warned him of inheriting, recruits an 'army' of mercenaries, dons a stolen Rebel uniform, and burns and pillages, with Duke in pursuit, climaxing in a last-ditch defense of Lawrence.

While very 'fast and loose', historically, "Dark Command" is great fun, and the Wayne/Trevor chemistry was never more enjoyable!

12 hours into the John Wayne Marathon, we have a tale of Cantrall's raiders, who terrorized Kansas before, during and after the Civil War.

This film was nominated for an Academy Award for John Victor Mackay's art direction and Victor Young's musical score.

John Wayne again appears with Claire Trevor, and a young Roy Rogers as her brother. He is competing with Cantrell (Walter Pidgeon) for her hand, and they go back and forth throughout the movie.

This film was quite a bit darker than the Audie Murphy version of the story ten years later. They even learned to spell the name right (Quantrill).

Good film for a young John Wayne.

When you consider that W.R. Burnett was the author of the novel on which this was based, and that the great Raoul Walsh was behind the camera as director, it's no wonder that DARK COMMAND is a far better than average western, especially one coming from a studio like Republic.

JOHN WAYNE, CLAIRE TREVOR and WALTER PIDGEON are top-billed and each does an excellent job. In fact, the chemistry between Wayne and Trevor is on the level of their most famous pairing in STAGECOACH, perhaps even better.

The story is vaguely suggested by the true-life tale of Quantrill's Raiders, with Pidgeon as Cantrell, a man who uses the strife between north and south to be a plunderer, robbing from both sides and setting himself up in luxurious surroundings. CLAIRE TREVOR is the woman who becomes his bride, reluctantly, and then discovers that it's really JOHN WAYNE that she loves. That's about the gist of the story, but it's given some good western elements, even extending to the inclusion of GEORGE 'GABBY' HAYES as a doctor a bit out of practice and ROY ROGERS in a straight dramatic role as Trevor's brother. Even MARJORIE MAIN has a strong dramatic role as Pidgeon's unhappy mother.

Walsh keeps things going at a fast clip, the production values are excellent and it's probably a film Republic was proud of, with good reason.

"Dark Command" is, of course, one of the Essential Westerns, since it puts up Roy Rogers, Gabby Hayes and JOHN WAYNE on the screen at the same time--not to mention teaming up the Duke with Claire Trevor, his lady from "Stagecoach." It's also a transitional film, mixing in elements (and actors) from the long line of Republic horse operas of the 1930s with themes, leads, and a director more in line with the "A" pictures of its day. The real star is the heavy, Cantrell (Walter Pidgeon), who begins as a schoolteacher and ends as a cynical partisan leader with no real allegiance. John Wayne is no slouch here, but his role is too much the conventional good guy to allow him to outsize Pidgeon. Roy Rogers actually gets to kill a guy, and Gabby Hayes plays something more than a caricature.

Now for the history: There wasn't really a time warp in 1861 Kansas that allowed people to get Colt Model 1873 revolvers, which everyone in the movie except Claire Trevor seems to pack. Sergio Leone got away with it in "The Good, the Bad, and the Ugly," though, so I will forgive Mr. Walsh. Cantrell is VERY loosely based on William Quantrill, a Confederate guerrilla leader who actually burned Lawrence, KS, during the Civil War. Thirty years after "Dark Command," John Wayne would play a former member of Quantrill's Raiders in "True Grit."

Having made his mark in 'Stagecoach' after spending the thirties toiling in 'B's John Wayne consolidated his status with Republic with this 'A' feature adapted from W. Burnett's book set against the backdrop of the American Civil War helmed by veteran director Raoul Walsh reuniting him with honey blonde Claire Trevor from the earlier film.

Wayne in those days was fresh and appealing. A heavily fictionalised William Quantrell - played by Walter Pidgeon - is as usual the heavy, depicted as a snake oil salesman leading an ambiguous relationship with his housekeeper Marjorie Main in favour of book burning and seen transferring his favoured source of income from slave-running to gun-running.

Dark Command is a very good and interesting movie. I would agree the story is rather thin and ordinary and could have been sharper in some scenes. The film could have been a little shorter too, and while not bad by all means some of the supporting actors and this is including Roy Rogers are just standard. However, Dark Command is a very well made movie, with beautiful photography, sets and costumes, and the score from Victor Young is rousing. Raoul Walsh's direction is outstanding, the script is well written, you do care for the lead characters, the climatic sequence is exciting and the stagecoach sequence is a contender for the film's highlight. The two leads John Wayne and Claire Trevor do very well, but the most consistent acting job comes from Walter Pidgeon who is excellent. Overall, very good if imperfect and underrated. 7/10 Bethany Cox

This fictionalized account of outlaw William Quantrill during the episode in United States history known as "Bleeding Kansas" is an above average account of a dark period in our history and Quantrill was certainly a dark commander--dark meaning evil. Quantrill like most of the bushwhackers (irregular southern sympathizers) and jay hawkers (irregular northern sympathizers)was simply out for personal gain. He didn't give a damn which side won the war. That most of his band of outlaws supported the South, including Cole Younger and Jesse James, mattered little to him as long as they kept their commander's coffers full of gold and the spoils of looting and robbing.

Though the grand finale of the burning of Lawrence, Kansas, is not as spectacular as the burning of Atlanta in "Gone With the Wind," in many ways "Dark Command" is a more realistic, less romanticized, account of the Civil War period. It is certainly less racist than "Gone With the Wind." Much of this is owed to the script based on a novel by the usually gangster oriented writer W.R. Burnett ("Little Caesar," "The Asphalt Jungle")and to the direction of Raoul Walsh.

Making all this gel is an exceptional cast handpicked by Walsh and Republic. Heading the roster is John Wayne who had recently gained acceptance from the Hollywood moguls as a result of his standout performance in "Stagecoach." Republic threw in their cowboy star Roy Rogers and his sidekick Gabby Hayes. Roy, though somewhat miscast, does a creditable job showing a wide range of emotions and gives life to his role of kid brother who wants to be a contender. When Roy and Dale had a show on the Nashville Network in the 1980's, they invited viewers to send in questions they would answer on the air, sending the writer an autographed picture in return. I asked Roy about his being teamed with John Wayne in "Dark Command." In answering the question on the air, it was obvious that he was not pleased with his appearance along side the Duke. Perhaps Republic had pushed Roy into the part holding him to his contract. Whatever the reason, Roy had no need to be ashamed. His performance indicates that he could have succeeded in A movies had that been his desire. Gabby Hayes is in top form and his role not only adds much needed humor to this rather dark film but serves also as a father figure and guiding hand to the man from Texas played by Wayne. Walter Pigeon adds a degree of dignity to his role portraying Quantrill (Cantrell in the film) as a three dimensional character with both good and bad in his nature. Upstaging them all is the divine Claire Trevor who walks away with the show.

This is a Republic picture so naturally the action and stunts are going to be first rate, especially with the likes of Yakima Canutt on the payroll. There is also the gallery of bad guys under contract to Republic who were some of the most despicable heavies in film history. Adding to the authenticity of the movie is music from the period, including two Stephen Foster songs.

1st watched 10/13/2001 - 6 out of 10(Dir-Raoul Walsh): Civil war type action/adventure with John Wayne adding his usual charm to take away from limitations or usualness of the plot. This movie is at it's best when it is played out like a romantic comedy with Wayne trying to win over Claire Trever despite his lacking in book knowledge which is owned in abundance by his rival played by Walter Pidgeon. When the story starts turning into a kind of "Gone With the Wind"-type story with the action taking over it becomes less interesting. One of the early gems of Wayne's career because it not only has his charm but it works as an entire movie and has a very good supporting cast.

This is director Raoul Walsh's second film with Wayne the male lead. The first, "The Big Trail", was Wayne's first film as a major player, having just acquired a new stage name. Hugely expensive and one of the first talkie westerns, unfortunately, it was a box office bomb, with Wayne unfairly shouldering most of the blame. The present film is a mixed western-Civil War drama/comedy, set in bleeding Kansas. Wayne has plenty of support from a cast of well known actors in this well-paced film. Claire Trevor is actually given top billing, as the belle around which Wayne, Walter Pigeon and a young Roy Rogers revolve. It seems highly implausible that Wayne, as illiterate drifter Bob Seton, should become infatuated with prim snobbish Claire, nor that she could ever consider him husband material. Wayne's persistence in promoting this unlikely union, even after her marriage, is a recurring source of comedy and drama. Initially, another source of comedy is the recently established working partnership between Wayne and Gabby Hayes, a former doctor, reformulated as a traveling dentist, barber and whatever else he can fix for you. Character actor Raymond Walburn also provides a comedic touch as a bug-eyed stammering stuffed-shirt of a judge and apparent mayor of Lawrence, Kansas. Roy Rogers looks rather incongruous as the frustrated brother of Claire, under his father's overbearing thumb, who yearns to be a cowboy or soldier. His hot head gets him into big trouble several times during the film. Wayne, on the other hand, with the backing of Hayes, changes from an apparent hot-head to an honest coolheaded sheriff, despite his illiteracy. Walter Pigeon is the eloquent-speaking legally literate but financially struggling rival of Wayne for the affections of Claire and for the office of sheriff. The striking contrast in personalities and skills of Wayne and Pigeon in their various competitions is another recurring source of comedy and drama. We wonder why Pigeon, with his obvious talent for oratory and knowledge of law, isn't a lawyer rather than a poorly paid schoolteacher? We suspect that he has been a lawyer, but was forced to resign for some transgressions. In engineering Roger's defense in his murder trial, we see the snake that he is behind all that eloquence.

Things get a lot more serious and complicated as the story progresses. Pigeon, as William Cantrell, knows he is a natural leader of men. Frustrated in obtaining a prominent position in the political establishment of Lawrence, he organizes a large band of outlaws posing as Confederate soldiers, as did his historical counterpart, William Quantrell. The film title may suggest this evil gang of thieves and murders, or it may equally suggest the fact that most of the violent and smuggling encounters take place at night. Pigeon faces the difficult task of trying to justify or hide from his new wife his ongoing rapacious activities. The continuing back and forth relationships between Wayne, Rogers, Pigeon and Claire provide much of the drama in the later part of the film. In fact, their tangled relationships remind me very much of those in another western released just the year before: "Union Pacific", another of my favorite westerns.

The movie summary suggested that the movie depicted the life of William Quantrill, the Civil War guerrilla. However, the William Cantrell in this movie has only a passing resemblance, historically, to Quantrill. So, so much for this being an historical drama.

The story itself is pretty boring. It takes forever to get going (and the total movie is only 95 minutes, so it doesn't leave much time for any action). Plus, the thing that took up all the time, the attempt at character-sketching, is token, at best. This is John Wayne, remember - he doesn't do character-drama, just action!

Disappointing, and boring.

Although 'Dark Command' reads like a 'Who's Who' of Westerns (John Wayne, Roy Rogers, Gubby Hayes, Clare Trevor etc), the real 'star' is its writer - William Riley (WR) Burnett.

He created a vivid moral fable of the wild west - William Cantrell (Pidgeon)gives up the role of good School teacher to become a ruthless bushwacker and gunrunner. In the opposite corner is the illiterate Bob Seton (Wayne) who keeps the Faith and becomes town marshall. Both want to achieve things and get the same girl before the Civil War strikes(Trevor)

Seton stands up for right even if it means losing friends and the girl, whilst Cantrell will stop at nothing to make a difference and as his Mother (Main) remarks "the Devil is walking with you". The title of the movie must say it all for W R Burnett.

The picture is not only gripping but hilarious and good hearted in parts. Gubby Hayes is superb as Seton's Dentist/Barber/Butcher and is responsible for most of the humour and keeps your interest when the film starts to fade.

For Western fans, 'Dark Command' is a must - to see Wayne, Rogers, Hayes & Trevor together should not be missed. But general moviegoers should try and catch it if they can - to see the work of the man who (amongst others) penned 'Little Caesar', 'High Sierra', 'The Alsphalt Jungle' and of course 'The Great Escape' (all great titles!)and frankly any movie that has the line "Jumping Catfish - I can give up Barbering!" has got to be worth a looksee.