Shona

Burt Reynolds as half-Comanche Quint Asper, Dodge City's new blacksmith, is showcased in this episode -- saving a Comanche woman from being abducted when Matt Dillon is out of town away at Fort Larned. He does it all without a gun too, only too aware that a couple of dozen of his fellow townsfolk would like any excuse ("Injun on the warpath!") to lynch him. Miriam Colon is suitably sympathetic and fetching as Shona; Robert Bray is her husband, going on to be Lassie's human for a few series; and John Crawford does his job as the usual all-purpose reprobate stirring the citizenry up. An appearance is made by Roy Roberts, beyond coincidence, following extremely tight type-casting as the hotel manager with a "restricted" policy, showing the ethnic minority the door in virtually a repeat of his role in the classic AA-winner "Gentlemen's Agreement" of 16 years before.

There will be people that dislike this show due to the heavy racist characters and the uncomfortable feeling a viewer gets from this program. However shows like this is essential to let people see how one or two people can influence a large group. The only one looking stupid in this episode is the ones filled with hate. This is a show that needs to be watched so we can learn from mistakes of other and not repeat those errors.

With Indian raids happening in the north there are many in Dodge that are uncomfortable with be associated with anything Indian in nature. This includes looking like you helping the Indians in any shape or form. When Gib Dawson brings his squaw wife, Shona, into Dodge because of a severely infected hand- people have uneasy feelings.

Three drifters, Les and Rud Torbert and Joe Riser, have heard about the raids. Through their talk of hate they get the men of Dodge to boycott anyone that may help the Indian squaw. With that hatred in the air the Dodge House and Ma Smalley refuse to take in the sick Shona. When Ms Kitty finally gives her a room the men boycott the Long Branch. They even make sure that Quint gets no work since he is what they call a half-breed.

With the town at a fever pitch to rid the city of the squaw, a break in the trio will begin the downfall of the lynch mob. When all is over the hatred may continue but the stool has changed faces- at least for now.

The entire story was not the most entertaining of all episodes but the message was clear as a bell. There will be some that dislike the messenger but the message needs to be remember by all viewers.

Not much subtlety here-- which is OK in a John Meston-scripted Western. It's immediately obvious who's the GOOD and who the EVIL in this tale, which is effectively written and directed.

Continuous tension right from the beginning--well maintained throughout--since we know that John Crawford (impressive as usual) and his thugs are only hanging around Dodge to do their dirty work. Only one unexpected "weak link" in their chain prevents what promised to be a disastrous outcome for Shona and her strong, honorable husband, solidly played by Robert Bray.

Especially impressive is the extended "lynch mob" scene, as the thugs roam the streets of Dodge at night, terrorizing the citizens, brandishing torches; striking, powerful imagery with fabulous depth to the B&W photography.

Burt Reynolds is a pillar of strength against the mob, UNARMED as usual, a very risky choice, especially during one of Matt's increasingly frequent out-of-town trips to Fort Larned or wherever....which, however, make for great added tension in the plot. Will we hear his commanding, off-camera "HOLD IT" just in time to save the day (or night) again?? Tune in and find out. LR

Very good story about prejudice and how it can take root in a community. I think it is very relevant to remember that this episode aired in 1963, and I don't think that Roy Roberts as the hotel manager with a "No Indians" policy, which he says is rooted in local prejudice. He fears a boycott. Good ol' Ma Smalley won't have Shona either, for the same reason. I have no doubt that if a popular vote were taken, discrimination would have been approved.

At present, nearly everyone would condemn the prejudice shown here, but let's recall that in 1963, discrimination was still the law, written and unwritten, in too many locations.

A young boy is riding across the prairie when he sees an Indian woman skinning a buffalo. He is frightened by this because the Comanches have been raiding individual farms around Dodge. He raises the alarm to some men who are drifters on the prairie and then Marshal Dillon encounters them. They all ride out to investigate and find that the indian woman is not part of some war party. Instead, Shona is the Indian wife of a trapper, and she was just out on the prairie getting another fur. The drifters ride off in disgust, but they aren't done causing problems. They hang around Dodge City inflaming mobs to go out and take care of matters with the Comanche themselves, and they are bullying and threatening any Indians who come into Dodge, including half Comanche blacksmith Quint (Burt Reynolds).

And then the cut on Shona's hand gets badly infected and she and her husband must come to Dodge and stay for a few days so that Doc can treat and dress the wound multiple times a day. This infuriates the gang of drifters who have set up camp in Dodge, and in the face of this simmering violence Matt leaves town on business! With nobody deputized to deal with this in his absence! Well, without this badly reasoned turn in the story there would be no plot. OR Matt could have taken what was a well used page back in 19th century law books and even 20th century ones. These drifters had no visible means of support. He could have put them in jail for a few days as vagrants until they cooled off and then made them leave town. But then again we would have no plot.

The one thing that the camera makes a point of having the viewer notice - the menacing smirk on the face of the brother of the ringleader of the violent gang every time he looks at Shona. I have to credit the director for getting just the right look on this guy's face. It's not a smitten look but instead is quite a sinister yet subtle expression.