Copyright 21 April 1950 by Showtime Properties, Inc. Filmed on locations in Mexico and at Republic Studios, Hollywood. Released through RKO Radio Pictures. New York opening at the Rivoli: 21 May 1950. U.S. release: 8 April 1950. U.K. release: 26 June 1950. Australian release: 21 July 1950. 8,173 feet. 91 minutes.
SYNOPSIS: Oil company employee mistakes innocent man for a bandit.
COMMENT: Niven Busch (Duel in the Sun, Pursued) made this movie with his own money. Generally it's an interesting and creditable effort, though it does have a few odd shortcomings. That normally reliable player Victor Jory gives a mechanical and unconvincing performance, and there are moments in the script when the circumlocutions of the dialogue become too repetitious and predictable to sustain interest. Fortunately these moments are few and Mr Jory's part is small.
Perhaps it could also be argued that Mr Busch has attempted to crowd too many elements into his script. On the credit side, however, he has plotted some intriguing and original twists into this Mexican western. And he and director John Sturges, assisted by cinematographer Edward Cronjager, have filmed the story against appropriately atmospheric, striking backgrounds.
Lew Ayres does plausibly by the part of the tortured hero, whilst Miss Wright is likewise convincing in an equally difficult role.
Jacqueline White, the unforgettable heroine of the later The Narrow Margin, has a rather different role here. After an elaborate introduction, she drops out to make room for the Teresa Wright character.
Barry Kelley is perfectly cast as the heavy, whilst Milton Parsons makes the most of his two limited opportunities.
All in all, The Capture emerges as a compelling thriller with strikingly film noirish location production assets.
SYNOPSIS: Oil company employee mistakes innocent man for a bandit.
COMMENT: Niven Busch (Duel in the Sun, Pursued) made this movie with his own money. Generally it's an interesting and creditable effort, though it does have a few odd shortcomings. That normally reliable player Victor Jory gives a mechanical and unconvincing performance, and there are moments in the script when the circumlocutions of the dialogue become too repetitious and predictable to sustain interest. Fortunately these moments are few and Mr Jory's part is small.
Perhaps it could also be argued that Mr Busch has attempted to crowd too many elements into his script. On the credit side, however, he has plotted some intriguing and original twists into this Mexican western. And he and director John Sturges, assisted by cinematographer Edward Cronjager, have filmed the story against appropriately atmospheric, striking backgrounds.
Lew Ayres does plausibly by the part of the tortured hero, whilst Miss Wright is likewise convincing in an equally difficult role.
Jacqueline White, the unforgettable heroine of the later The Narrow Margin, has a rather different role here. After an elaborate introduction, she drops out to make room for the Teresa Wright character.
Barry Kelley is perfectly cast as the heavy, whilst Milton Parsons makes the most of his two limited opportunities.
All in all, The Capture emerges as a compelling thriller with strikingly film noirish location production assets.