Randolph Scott (Jim Kipp/James Collins), Dolores Dorn (Julie Spencer), Marie Windsor (Alice), Howard Petrie (Sheriff Brand), Hanny Antrim (Dr Spencer), Robert Keys (George Williams), Ernest Borgnine (hotel desk clerk), Dubb Taylor (Postmaster Danvers), Tyler MacDuff (Vance), Archie Twitchell (Harison), Paul Picerni (Jud), Phil Chambers (Ed), Mary Lou Holloway (Mrs Ed), Billy Vincent (fat tough in border store), Fess Parker (potential rowdy), Kathryn Marlowe, Shirley Whitney (saloon girls), Dorothy Seese (girl), Wanda Barbour, Gail Robinson (townswomen), Guy Teague (O'Hanlon), Vincent Perry (Parson Ellsworth), Hope Miller (Maria Domingues), Fess Parker (wild cowboy), Charles Delaney (sheriff), Budd Buster, Leo Curley.
Director: ANDRE DE TOTH. Screenplay: Winston Millier. Story: Winston Miller, Finlay McDermid. Photographed in Natural Vision 3-Dimension and WarnerColor by Edwin DuPar. Film editor: Clarence Kolster. Music composed and directed by David Buttolph, orchestrated by Maurice de Packh. Art director: Stanley Fleischer. Set decorator: William Wallace. Make-up: Gordon Bau. Wardrobe: Moss Mabry. Assistant director: Frank Mattison. Natural Vision 3-D supervisor: M.L. Gunzberg. Natural Vision consultant: Howard Schwartz. Visual consultant: Dr Julian Gunzberg. Sound recording: Francis J. Scheid. Producer: Sam Bischoff. Executive producer: Randolph Scott. A Transcona Enterprises Production.
Copyright 1955 by Warner Brothers Pictures, Inc. No recorded New York opening. U.S. release: 25 September 1954. U.K. release: December 1954. Australian release: 29 September 1955 (sic). 7,083 feet. 78 minutes.
SYNOPSIS: Hired by Pinkertons a whole year after the robbery, a bounty hunter manages to trail three train bandits to Win Forks. Unfortunately, he has few clues as to their identities.
COMMENT: The chase western in which the hero was required to track down a gang of outlaws, undoubtedly became the most popular (as well as the most used) of the genre's formulae. An interesting variant (as here) has the hero ignorant of the physical appearances of those he is pursuing. Although there are certainly a large number of films in this vein, "The Bounty Hunter" is definitely one of the most entertaining and suspenseful.
Despite the welcome intrusion of 3-D effects (most of which are quite dramatically integrated into the staging, though the delightful shock of the villain's hat being shot off into the camera is perhaps overplayed for its novelty appeal), "The Bounty Hunter" can be viewed as a classy follow-up to the highly successful collaboration of star Scott and director De Toth on "Riding Shotgun".
Miller's screenplay presents much the same critical examination of small-town folk and their various self-interests. Perhaps the multiple characterizations are not quite as incisively written, and perhaps they are not quite as vigorously played, but these trifling shortcomings are more than compensated by both De Toth's masterfully fluid direction with its long takes in dazzling tracking shots, and Miller's strong plot that successfully springs a number of tingling but still perfectly logical surprises.
Needless to say, the action spots are most excitingly staged (and there's more than enough of them to satisfy the fans). Scott even seems to perform a particularly hazardous stunt himself.
On another essential script ingredient, the screenwriter has penned some telling dialogue. And it's all most ingratiatingly acted. Scott paces through with his usual charismatic assurance and charming savoir faire, attractive Dolores Dorn delivers a most believable heroine, while our favorite "B" villainess Marie Windsor colorfully winds a crooked finger at our impervious hero. Howard Petrie makes a sterling sheriff.
It's also good to find Ernest Borgnine as the boorish desk clerk and Dub Taylor as a somewhat surly committeeman. Fess Parker can be spotted in a small bit right at the film's end.
Lavishly produced on actual locations as well as the studio's thriving back-lot, "The Bounty Hunter" also boasts excellent color photography and a rousing music score.
I couldn't spot the villains. No way! But even if you can (which would make you a darn sight more clever than me), you'll find this movie still charged with more than a triple dose of palm-sweating suspense.
Director: ANDRE DE TOTH. Screenplay: Winston Millier. Story: Winston Miller, Finlay McDermid. Photographed in Natural Vision 3-Dimension and WarnerColor by Edwin DuPar. Film editor: Clarence Kolster. Music composed and directed by David Buttolph, orchestrated by Maurice de Packh. Art director: Stanley Fleischer. Set decorator: William Wallace. Make-up: Gordon Bau. Wardrobe: Moss Mabry. Assistant director: Frank Mattison. Natural Vision 3-D supervisor: M.L. Gunzberg. Natural Vision consultant: Howard Schwartz. Visual consultant: Dr Julian Gunzberg. Sound recording: Francis J. Scheid. Producer: Sam Bischoff. Executive producer: Randolph Scott. A Transcona Enterprises Production.
Copyright 1955 by Warner Brothers Pictures, Inc. No recorded New York opening. U.S. release: 25 September 1954. U.K. release: December 1954. Australian release: 29 September 1955 (sic). 7,083 feet. 78 minutes.
SYNOPSIS: Hired by Pinkertons a whole year after the robbery, a bounty hunter manages to trail three train bandits to Win Forks. Unfortunately, he has few clues as to their identities.
COMMENT: The chase western in which the hero was required to track down a gang of outlaws, undoubtedly became the most popular (as well as the most used) of the genre's formulae. An interesting variant (as here) has the hero ignorant of the physical appearances of those he is pursuing. Although there are certainly a large number of films in this vein, "The Bounty Hunter" is definitely one of the most entertaining and suspenseful.
Despite the welcome intrusion of 3-D effects (most of which are quite dramatically integrated into the staging, though the delightful shock of the villain's hat being shot off into the camera is perhaps overplayed for its novelty appeal), "The Bounty Hunter" can be viewed as a classy follow-up to the highly successful collaboration of star Scott and director De Toth on "Riding Shotgun".
Miller's screenplay presents much the same critical examination of small-town folk and their various self-interests. Perhaps the multiple characterizations are not quite as incisively written, and perhaps they are not quite as vigorously played, but these trifling shortcomings are more than compensated by both De Toth's masterfully fluid direction with its long takes in dazzling tracking shots, and Miller's strong plot that successfully springs a number of tingling but still perfectly logical surprises.
Needless to say, the action spots are most excitingly staged (and there's more than enough of them to satisfy the fans). Scott even seems to perform a particularly hazardous stunt himself.
On another essential script ingredient, the screenwriter has penned some telling dialogue. And it's all most ingratiatingly acted. Scott paces through with his usual charismatic assurance and charming savoir faire, attractive Dolores Dorn delivers a most believable heroine, while our favorite "B" villainess Marie Windsor colorfully winds a crooked finger at our impervious hero. Howard Petrie makes a sterling sheriff.
It's also good to find Ernest Borgnine as the boorish desk clerk and Dub Taylor as a somewhat surly committeeman. Fess Parker can be spotted in a small bit right at the film's end.
Lavishly produced on actual locations as well as the studio's thriving back-lot, "The Bounty Hunter" also boasts excellent color photography and a rousing music score.
I couldn't spot the villains. No way! But even if you can (which would make you a darn sight more clever than me), you'll find this movie still charged with more than a triple dose of palm-sweating suspense.