Audie Murphy stars as a reformed gunslinger/outlaw who returns to his home town, Shelby, not receiving a hospitable welcome due to his involvement in the murder of two sons of a cattleman who wanted to steal his land. Clint Cooper's reputation precedes him, but he wants to start a new life, calling upon a former flame, Helen (Mary Anders), who is now engaged to Shelby's sheriff, Scotty Wade (James Best, playing a straight character for a change, with valor, courage, and conviction). Wade is aware that a raid could happen upon Shelby in a matter of days as a sadistic outlaw (Jud Spangler, played by Ted de Corsia, quite a vicious heel who enjoys his criminal activities, not bothered with any guilt or conscience regarding the damage his crimes cause to the victims) and his band of thieves/killers, known to pillage and burn to ground towns, stealing bank money and having their way with the women that live in them. Needing Cooper's smarts and quick draw capabilities, Wade asks for his assistance but the father of the two Morrison boys he killed (Walter Sande, seething/bubbling with hate and anxious to get even with the man who sent his boys to an early grave, not acknowledging his responsibility for this incident) will look for an opening to get even, with help from nephew Rick (Rex Homan). When Cooper defends himself against the Morrisons in a barn brawl (not long after upending them in an exciting, violent bar fight) leading to their deaths, he will be imprisoned to stand trial—this happens right as Spangler and his men are about to arrive to the barricade set up in front of Shelby. What makes this a suspenseful western is that most of Shelby's men are off running cattle while the few that remained are mostly old store and business owners, not prone to firing guns. There's a pious priest, Reverend Staley (Charles Meredith), who tries to comfort the families holed up in his church, inspiring Wade to confront Spangler—not a wise move. Because Cooper once rode with Spangler, he knows the bastard's devious nature and will try to outsmart him.
Ted de Corsia is essentially portraying the Black Bart character, pure evil, no moral sense of right or wrong, just concerned with booze, money, and women. Audie's character is the flawed hero who lost himself along the way and returns home to make amends and help those he cares for defeat Corsia's slimy leader and malicious posse. This film has the acquired elements we are accustomed to like the aforementioned bar brawl that has Murphy battling both Sande and Holman (who illustrate here that they aren't beneath attack one man together), with tables flying, punches thrown, and bodies bloodied and beaten. The intensity of this feud is again realized when the Morrisons plan to lynch Cooper in the barn, and he responds in self-defense, successful but quite bruised for his efforts. Murphy, as often was the case, looks like a million bucks thanks to the beauty of cinema; a war hero deserves such honors, I believe. Best, known to play weak or simpleton rednecks, has a really nice part here, emphasizing that he could portray a stalwart, sincere man of the law who unwisely attempts to talk sense into a man that thrives on committing senseless acts of violence towards innocents. The showdown at the end—you can't expect there not to be a face-off between hero and villain, now can you?—has a fascinating twist which involves Helen and Spangler's lead gun, Cagle (Mort Mills), when it appears that Cooper is up &$#* creek without a paddle. If you are looking for all the customary trappings of a B-western, "The Quick Gun" will please you. I was and it did me.
Ted de Corsia is essentially portraying the Black Bart character, pure evil, no moral sense of right or wrong, just concerned with booze, money, and women. Audie's character is the flawed hero who lost himself along the way and returns home to make amends and help those he cares for defeat Corsia's slimy leader and malicious posse. This film has the acquired elements we are accustomed to like the aforementioned bar brawl that has Murphy battling both Sande and Holman (who illustrate here that they aren't beneath attack one man together), with tables flying, punches thrown, and bodies bloodied and beaten. The intensity of this feud is again realized when the Morrisons plan to lynch Cooper in the barn, and he responds in self-defense, successful but quite bruised for his efforts. Murphy, as often was the case, looks like a million bucks thanks to the beauty of cinema; a war hero deserves such honors, I believe. Best, known to play weak or simpleton rednecks, has a really nice part here, emphasizing that he could portray a stalwart, sincere man of the law who unwisely attempts to talk sense into a man that thrives on committing senseless acts of violence towards innocents. The showdown at the end—you can't expect there not to be a face-off between hero and villain, now can you?—has a fascinating twist which involves Helen and Spangler's lead gun, Cagle (Mort Mills), when it appears that Cooper is up &$#* creek without a paddle. If you are looking for all the customary trappings of a B-western, "The Quick Gun" will please you. I was and it did me.