While the western genre is not my favourite one of all film genres (not sure which one is my favourite due to trying to appreciate them all the same), there is a lot of appreciation for it by me. There are a lot of very good to great films, with the best work of John Ford being notable examples.
In the late 50s, starting in 1956 with 'Seven Men from Now' and right up to 1960 with 'Comanche Station', lead actor Randolph Scott collaborated with director Budd Boetticher in seven films. For me, 1957's 'Decision at Sundown' is one of their weakest, even a strong contender for their weakest. By all means it is a long way from terrible, it has a lot of great elements and is actually pretty decent. It just isn't in the same league as the wonderful 'Seven Men from Now' and 'The Tall T' and doesn't have enough of what made those two so good.
Starting with the strengths, while not the best-looking of their outings, being smaller in scale and slightly too compact in its setting, 'Decision at Sundown' still looks pleasing. It is very nicely filmed, with some nice colour and atmosphere, and handsomely designed, it just lacks the visual grandeur of their best collaborations. The music has presence and fits nicely, while not being intrusive.
Boetticher directs efficiently and mostly the film goes at a pace that isn't pedestrian. Numerous parts are suspenseful and fun, with some well choreographed action and some moral complexity. The ending is unusual and unexpected, and very effective. Scott brings likeability, charisma and intensity to his role and he is well supported by Karen Steele (oozing glamour and charm), Noah Beery Jr (enjoying himself immensely and having the best of the fun moments), John Archer (nice authority) and Andrew Duggan (suitably snake-like).
However, Valerie French is rather bland and colourless in an underwritten role and lacking the charm and sometimes touching chemistry of Steele. John Carroll underplays his fairly one-dimensional villain, he's no Lee Marvin, Richard Boone or Claude Akins.
The script is too wordy, lacking the meat and tautness of the scripts of the best Scott/Boetticher films, and can preach and be too basic to make the most of its complex themes. There is not enough depth to the characters, with only Scott's hero being developed enough and even then his motivation should have been explored more and more gripping. The story has a lot of great moments, but there is also some credibility straining, overload of simplicity and lack of tautness.
In conclusion, decent but had the potential to be much better. 6/10 Bethany Cox
In the late 50s, starting in 1956 with 'Seven Men from Now' and right up to 1960 with 'Comanche Station', lead actor Randolph Scott collaborated with director Budd Boetticher in seven films. For me, 1957's 'Decision at Sundown' is one of their weakest, even a strong contender for their weakest. By all means it is a long way from terrible, it has a lot of great elements and is actually pretty decent. It just isn't in the same league as the wonderful 'Seven Men from Now' and 'The Tall T' and doesn't have enough of what made those two so good.
Starting with the strengths, while not the best-looking of their outings, being smaller in scale and slightly too compact in its setting, 'Decision at Sundown' still looks pleasing. It is very nicely filmed, with some nice colour and atmosphere, and handsomely designed, it just lacks the visual grandeur of their best collaborations. The music has presence and fits nicely, while not being intrusive.
Boetticher directs efficiently and mostly the film goes at a pace that isn't pedestrian. Numerous parts are suspenseful and fun, with some well choreographed action and some moral complexity. The ending is unusual and unexpected, and very effective. Scott brings likeability, charisma and intensity to his role and he is well supported by Karen Steele (oozing glamour and charm), Noah Beery Jr (enjoying himself immensely and having the best of the fun moments), John Archer (nice authority) and Andrew Duggan (suitably snake-like).
However, Valerie French is rather bland and colourless in an underwritten role and lacking the charm and sometimes touching chemistry of Steele. John Carroll underplays his fairly one-dimensional villain, he's no Lee Marvin, Richard Boone or Claude Akins.
The script is too wordy, lacking the meat and tautness of the scripts of the best Scott/Boetticher films, and can preach and be too basic to make the most of its complex themes. There is not enough depth to the characters, with only Scott's hero being developed enough and even then his motivation should have been explored more and more gripping. The story has a lot of great moments, but there is also some credibility straining, overload of simplicity and lack of tautness.
In conclusion, decent but had the potential to be much better. 6/10 Bethany Cox