Gun Fury

Beautiful looking western in dazzling Technicolor is otherwise an ordinary affair but does have Rock Hudson and Donna Reed both on the cusp of bigger things. Donna made From Here to Eternity the same year as this and although it didn't really enhance her movie fortunes it raised her fame level easing her transition to TV fame as the perfect homemaker. Rock would break out of the B's the next year with Magnificent Obsession that turned him into box office gold for years. This film does have a good pace and a hissable villain in Phil Carey plus an early peek at Lee Marvin. For western fans or admirers of the stars this should be an enjoyable view.

With stars like Rock Hudson, Donna Reed and Lee Marvin, a script by Roy Huggins and direction by action film legend, Raoul Walsh, "Gun Fury" seemed like a sure thing. Boy was I disappointed.

The script relied on constant character stupidity to move the story along; Hudson and Reed had no chemistry together and Lee Marvin doesn't have his usual nutjob role to ratchet up the interest.

The scenery was spectacular and the score quite good in places. But this 82 minute film had me looking at my watch before the halfway point.

Rock Hudson was much better in "The Undefeated." If you want a good Donna Reed/Roy Huggins western, try "Hangman's Knot." Raoul Walsh made several better westerns like "Colorado Territory" and "The Tall Men."

"I'm sick of violence and force," says Ben Warren, the rich young rancher who is taking his fiancee Jennifer to California for their wedding. Like most Americans of his generation, he served in the Civil War and was disgusted by the slaughter. Now he is devoted to working his big spread and marrying his beautiful girl (played by Donna Reed).

Unfortunately, the barren South West is not remote enough from recent history. Men have crossed the Rockies to escape from the bitterness back East, but they have carried their violence westwards with them.

The film is the story of a stagecoach holdup which turns into an abduction, then a manhunt. Ben Warren (Rock Hudson) sets off after the bad guys who kidnapped his bride-to-be, and pursues them across the Arizona desert.

A standard horse opera, "Gun Fury" contains no more than the average complement of guns and precious little fury. There are absurdities in the storyline, like the holdup with fake cavalry escort, and the ease with which the 'good guys' recover from seemingly mortal harm (Ben is shot dead, apparently, but then gets up and carries on as if nothing happened, and Jess is almost dead from sunstroke but quickly rallies and rides after Slayton). The trade of Jennifer for Jess is silly, not least because Jess would never want to rejoin Slayton's gang.

One directorial quirk exhibited by Raoul Walsh is the way in which any character who throws something (knife, rock, pottery) has a victim's-point-of-view cutaway inserted. The viewer is, for an instant, seemingly the target of the missile. The purpose of this oddity is to exploit the 3-D format in which the film was originally shot.

The only other talking point is the presence of Lee Marvin and Neville Brand as bad guys in Slayton's gang.

Verdict - workmanlike western, but nothing special

Rock Hudson and Donna Reed are a couple finally together after the civil war, travelling on a stagecoach when it's hijacked by Phil Carey's outlaw gang. That's pretty much the story. What ensues is a lot of running around amid some beautiful Arizona desert scenery which is the real star here. Lovely cinematography, but weak script let's this Roaul Walsh western in 3D down. Hudson on the way up to greater things is clearly the main reason for making this but his acting hasn't quite met the standard he later achieves in Giant and he's out acted by Phil Carey who exudes more charisma here. Even Lee Marvin is more interesting in a small role. Neville Brand I thought was wasted and his usual screen villainy given little to do. Quite why Carey shows such an interest in Donna Reed, I simply don't know as they've never met before the stage hijac. She's hardly a femme fatale, just a regular girl unfortunate enough to have been there and this is a weakness in the plot. Had she been a former girlfriend of Carey's who has dumped him would have made more sense but his obsession with keeping her with the gang for no apparent reason is baffling, just a ploy for Hudson to chase after them across the scenery. The film later becomes predictable like a TV western, losing the earlier interest that had kept me watching, especially the performance of the underrated Leo Gordon. Should and could have ended better given the talent here.

This originally-filmed 3-D pot boiler features a darkly gorgeous Donna Reed partnering an equally handsome Rock Hudson- the latter displaying the macho charisma he hid behind for most of his career. But the thing is, he's good -and so's Donna. They play an engaged couple about to settle in California at the end of the Civil War. Rock has the odd good line 'Bullets are democratic- they don't only kill badmen' -no doubt an orphan from scriptwriter Kathleen George's novel TEN AGAINST CEASAR on which movie was based and a concept which would have found an echo in post-Korean and WWII veteran audiences.

Ex-Confederate Army cronies' embitterment and discontent is the excuse for stagecoach robbery, murder and kidnapping. Ben Warren [Hudson] is left for dead and his fiancé Jennifer Ballard [Reed] snatched under the unlikely pretext that gang leader Frank Slayton [Phil Carey] fancies her. The later elemental suggestion of suppressed carnality is best left as it was -suppressed. Donna Reed, despite torn blouse -is Rock's girl, and she remains so. Doesn't the Phil Carey know how things in Westerns work out? The plot of George's novel, TEN AGAINST CAESAR has been uncomplicated to a degree where an orangutan, given five seconds and a paintbrush, could have written the subsequence and denouement.

But credibility is not what this movie is all about.

It's about how parted Rock and Donna are re-united and triumph over -albeit manufactured -adversity ; it's about searing Arizona desert; the magnificence of 1950 Technicolor Western-making, and perhaps most of all about the making of desolation beautiful. I remember its flat screen release as a kid, was dying to see it but couldn't afford the admission. Had I seen it then I know how I would have reacted - I would have considered it good value and left the cinema, six-gun at the ready, seeking a showdown.