Two men want to rob the bank in Dodge, but are unwilling to try it while Matt lives. A man agrees to accept the job of killing the marshal, attaching some rather peculiar conditions to his a... Read allTwo men want to rob the bank in Dodge, but are unwilling to try it while Matt lives. A man agrees to accept the job of killing the marshal, attaching some rather peculiar conditions to his acceptance.Two men want to rob the bank in Dodge, but are unwilling to try it while Matt lives. A man agrees to accept the job of killing the marshal, attaching some rather peculiar conditions to his acceptance.
- Director
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Danny Borzage
- Townsman
- (uncredited)
Rudy Bowman
- Townsman
- (uncredited)
Lane Bryant
- Fighting Cowboy
- (uncredited)
Stephen Ellsworth
- Bartender
- (uncredited)
Joe Ferrante
- Townsman
- (uncredited)
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- Writers
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8.1270
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What makes it good are the small scenes and touches
Marshal Dillon is doing his rounds late one windy night, shaking door knobs in various alleys. Such a thing COULD get you shot by whoever is on the other side of that doorknob, but I digress. Then a figure comes out of the darkness and fires four shots at Dillon. He falls into some boxes but is OK and unwounded. Who was this shadowy figure? We find out it is Cleed, one of two drifters planning a bank robbery who figure said robbery will be easier if Dillon is dead. Cleed and Lucas go into town the next day to rob the bank, believing that Dillon is dead. Before they get to the bank, they see Dillon walking around alive and well. They go into a nearby bar that is more like a dive and try to replan their heist. A man who has seen better days (Milton Selzer as Painter) overhears them and offers to kill Dillon for them for 200 dollars upfront. They pay him, and he agrees to do the job the next day. But Painter appears to be a drunk not a gunfighter. Our two criminal masterminds are not Rhodes scholars, but still, this is pretty desperate on their part. In the meantime Painter does some things that make you realize that he believes that this is his last night on earth.
What was good in this episode to me was a revealing scene between Kitty and Matt. The day after Matt is shot at she marches angrily toward Matt's office and tells him "You make me sick!". What transpires is a conversation in which Matt admits something that has only been on the tip of his tongue. That they have a relationship- "this thing" he calls it - and mentions that she has always known the danger of his profession.
What was good in this episode to me was a revealing scene between Kitty and Matt. The day after Matt is shot at she marches angrily toward Matt's office and tells him "You make me sick!". What transpires is a conversation in which Matt admits something that has only been on the tip of his tongue. That they have a relationship- "this thing" he calls it - and mentions that she has always known the danger of his profession.
The immortal Marshall
Marshall Dillon sees himself as an ordinary man just doing his job the best way he knows how. But others look at him differently. To outlaws, he is a fearsome, unkillable foe. To citizens, he is more legend than man.
"Any Body Can Kill a Marshall" is a unique episode that looks at Dillon's legend. Two outlaws, Lucas and Clede, plot to kill Dillon so they can have free reign over Dodge City. Clede ambushes the Marshall at point blank range but fails to kill him. When the two are talking over how they'd like to kill Dillon but aren't sure how to go about it, they are overheard by a strange, shabbily dressed man named Painter. Painter offers to do the job for a flat $200 up front. The outlaws agree and pay the man, who vows he will kill the Marshall the next day.
Painter spends some of his money right away. We see him purchase a gun and a nice suit of clothes, with compliments to the shopkeeper. He shows kindness to a saloon girl and gives her a note to send to somebody the next day. He even compliments Marshall Dillon for breaking up a fight. The following day, he has sworn to kill him...
I won't spoil what happens next as others have done.This is a moody, melancholy episode of "Gunsmoke", made more atmospheric by ominous music. The music was courtesy of the great Bernard Hermann and appeared in several notable "Twilight Zone" episodes. Character actor Milton Seltzer steals the show as Painter, a man both sympathetic and creepy. It's obvious from his laconic personality that he has given up on life. "He just don't care no more!" says Clede. We later discover Painter's motivations and they are not what one would expect.
We see Marshall Dillon through many different eyes in this episode. Miss Kitty is furious with him because he constantly risks his life, telling him "You make me sick!" at one point. Painter discovers admiration for the Marshall, a man he's never met. Clede has almost supernatural terror of Dillon, bellowing at him "Why don't you DIE, Marshall Dillon?". Lucas sees him as an obstacle to be disposed of. Matt might be aware of these viewpoints but soldiers on because that's all he knows how to do.
The ending on the episode is ambiguous in a real life way that most TV Westerns would avoid. This episode is proof again why "Gunsmoke" was on one of the best.
"Any Body Can Kill a Marshall" is a unique episode that looks at Dillon's legend. Two outlaws, Lucas and Clede, plot to kill Dillon so they can have free reign over Dodge City. Clede ambushes the Marshall at point blank range but fails to kill him. When the two are talking over how they'd like to kill Dillon but aren't sure how to go about it, they are overheard by a strange, shabbily dressed man named Painter. Painter offers to do the job for a flat $200 up front. The outlaws agree and pay the man, who vows he will kill the Marshall the next day.
Painter spends some of his money right away. We see him purchase a gun and a nice suit of clothes, with compliments to the shopkeeper. He shows kindness to a saloon girl and gives her a note to send to somebody the next day. He even compliments Marshall Dillon for breaking up a fight. The following day, he has sworn to kill him...
I won't spoil what happens next as others have done.This is a moody, melancholy episode of "Gunsmoke", made more atmospheric by ominous music. The music was courtesy of the great Bernard Hermann and appeared in several notable "Twilight Zone" episodes. Character actor Milton Seltzer steals the show as Painter, a man both sympathetic and creepy. It's obvious from his laconic personality that he has given up on life. "He just don't care no more!" says Clede. We later discover Painter's motivations and they are not what one would expect.
We see Marshall Dillon through many different eyes in this episode. Miss Kitty is furious with him because he constantly risks his life, telling him "You make me sick!" at one point. Painter discovers admiration for the Marshall, a man he's never met. Clede has almost supernatural terror of Dillon, bellowing at him "Why don't you DIE, Marshall Dillon?". Lucas sees him as an obstacle to be disposed of. Matt might be aware of these viewpoints but soldiers on because that's all he knows how to do.
The ending on the episode is ambiguous in a real life way that most TV Westerns would avoid. This episode is proof again why "Gunsmoke" was on one of the best.
Is Matt Dillon Human?
This is a fascinating episode of Gunsmoke and also one of the very best. And Kathleen Hite's plot is what makes it a cut above. Simply put, she introduces the idea that Matt Dillon may not actually be a human being. In this episode he inexplicably survives two point-blank assassination attempts, the first without a scratch. And his first would-be assassin, an outlaw named Clede, becomes convinced that Dillon is an immortal supernatural presence.
This is not as kooky as it may seem. Although Dillon is frequently wounded in the series and is sometimes ill, he does not die and at times really does appear to be some sort of Greek god in a cowboy hat. I do not know but suspect that Clint Eastwood's supernatural Western figures, the High Plains Drifter and the Pale Rider, may have been inspired, at least subconsciously, by this episode. At any rate, hats off to Hite, who was getting better and better as a writer, and to Milton Selzer, who is marvelous as a transmundane hitman.
This is not as kooky as it may seem. Although Dillon is frequently wounded in the series and is sometimes ill, he does not die and at times really does appear to be some sort of Greek god in a cowboy hat. I do not know but suspect that Clint Eastwood's supernatural Western figures, the High Plains Drifter and the Pale Rider, may have been inspired, at least subconsciously, by this episode. At any rate, hats off to Hite, who was getting better and better as a writer, and to Milton Selzer, who is marvelous as a transmundane hitman.
Is that guy following me?
Just saw this for the first time. It's surprising it doesn't show up on "best episodes" lists. But the same could be said for a lot of other episodes. It's off-kilter (the bad guys wondering out loud whether Marshal Dillon is actually killable), with an "uneasy" ending. I won't spoil it.
Besides the somewhat unusual story, several other things stand out. One is a rarity among the hundreds of thousands of motion pictures and TV shows made in the entire history of the world -- a lightning flash //is not// accompanied by thunder, which occurs several seconds later.
Another is Howard McNear's quirky turn as Wilbur Jonas' assistant. McNear (Doc Adams in the radio version) played this role several times, presumably because Dabbs Greer wasn't available.
The last is the music editor's selection of Bernard Herrmann's music from an early Twilight Zone episode. It's out of place in a Western (not just the music itself, but the vibraphone), which is probably why it's so effective.
Besides the somewhat unusual story, several other things stand out. One is a rarity among the hundreds of thousands of motion pictures and TV shows made in the entire history of the world -- a lightning flash //is not// accompanied by thunder, which occurs several seconds later.
Another is Howard McNear's quirky turn as Wilbur Jonas' assistant. McNear (Doc Adams in the radio version) played this role several times, presumably because Dabbs Greer wasn't available.
The last is the music editor's selection of Bernard Herrmann's music from an early Twilight Zone episode. It's out of place in a Western (not just the music itself, but the vibraphone), which is probably why it's so effective.
10birdgoog
Read someone else's review
So i've seen this episode before but this time i think i reeeally paid attention. LOVED the entire story, LOVED the ending. lol sadly i'm not as refined and cultured as my fellow commenters so dunno who did the music, dunno why it was so special. Well, because i simply don't care. But don't get me wrong, if someone else wants to take the time researching these things i'm happy to read all about it. i'm just lazy, not so much stupid. For information like that and much more, i suggest yinz check out the user review from @drmality-1. After perusing all of the other reviews, this was the most informative yet still enjoyable input on this episode. Just a suggestion.
Did you know
- TriviaPretty Prairie, Kansas is about 125 miles from Dodge
- GoofsAround the 15-minute mark - when Howard Rudd becomes apprehensive concerning Painter's "needs" - Painter takes a 50 dollar bill out of his top left pocket, places it on the table, and says, "Can we get started?" Only the reverse of the bill is seen, with the U.S. Capitol clearly displayed. This image was placed on the small size note series beginning in 1929. Since the words "In God We Trust" are not displayed, this specific tender would have been issued before 1956.
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- 1h(60 min)
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- 1.33 : 1
- 4:3
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