Almost all of the 'Lone Star' westerns have some unique elements that make them worth watching, if not just to see the early John Wayne. As one of the later films in the series, with its large cast, leisurely pace, and more developed scenes with lead and supporting players, it seems more like a western of the forties (of course, without the music sound track), with major portions of it given over to John Wayne's love interest, Lucille Brown, as Beth Matthews.
In many of the previous ones the female had little to do, or was reduced to a cypher, and usually, as if by magic, kissed him or ran off with him at the end, hardly ever appearing much in the film or playing off him in very many key scenes.
Here the emphasis is quite different.
From her first scene facing the camera in a long medium shot and boldly proclaiming herself, she is given a lot of dialog and many scenes with John Wayne, who plays John Higgins, the 'falsely accused' killer of her father (this fact unknown to her until revealed by the villain, Leroy Mason as 'Dixon.') These scenes range from adulation and love, surprise and sadness, to vile contempt and tears -- when she condemns him as a robber, thief, liar and murderer -- and then back to "love in a cabin." No riding off into the sunset here! The movie gives more screen time to the heroine than to the villain! Here the villain, Dixon, is weak and doesn't appear very much. Well, you can't always have both (except in great films, of course!).
Unfortunately, the film drags along after Dixon hatches the plot to steal all of Beth's horses. There's no tension or excitement that builds from this point on, even when Higgins captures Dixon, in a rather weak fight. Just a dull, working through of the plot. The first half had the excitement, with Higgins chasing and being pursued by Dixon's 'posse', who rob the 'Stage' (an old Tin Lizzie!).
So, finally, I have to give it a four, even though I enjoyed the fact that as a love story, this was one 'Lone Star' that was more fully developed!
Side note: We also get to see and hear George Hayes use his 'normal' voice and facial expressions as Sheriff (except for short inter cut scenes with 'Blacksmith Bob')!
In many of the previous ones the female had little to do, or was reduced to a cypher, and usually, as if by magic, kissed him or ran off with him at the end, hardly ever appearing much in the film or playing off him in very many key scenes.
Here the emphasis is quite different.
From her first scene facing the camera in a long medium shot and boldly proclaiming herself, she is given a lot of dialog and many scenes with John Wayne, who plays John Higgins, the 'falsely accused' killer of her father (this fact unknown to her until revealed by the villain, Leroy Mason as 'Dixon.') These scenes range from adulation and love, surprise and sadness, to vile contempt and tears -- when she condemns him as a robber, thief, liar and murderer -- and then back to "love in a cabin." No riding off into the sunset here! The movie gives more screen time to the heroine than to the villain! Here the villain, Dixon, is weak and doesn't appear very much. Well, you can't always have both (except in great films, of course!).
Unfortunately, the film drags along after Dixon hatches the plot to steal all of Beth's horses. There's no tension or excitement that builds from this point on, even when Higgins captures Dixon, in a rather weak fight. Just a dull, working through of the plot. The first half had the excitement, with Higgins chasing and being pursued by Dixon's 'posse', who rob the 'Stage' (an old Tin Lizzie!).
So, finally, I have to give it a four, even though I enjoyed the fact that as a love story, this was one 'Lone Star' that was more fully developed!
Side note: We also get to see and hear George Hayes use his 'normal' voice and facial expressions as Sheriff (except for short inter cut scenes with 'Blacksmith Bob')!