Bob Mitchum saunters and shoots his way through this nag of a horse opera in a state of semiconsciousness. The famed laconic style of the actor remains in a state of deep torpor throughout for which he can hardly be blamed given it's generic teleplay storyline that was running rampant in the early days of western dominated TV.
Clint Tollinger in search of his family rides into a town menaced by a mysterious land baron whose boys tend to do as they please. The local sheriff is a doormat and when word gets around Tollinger is "town tamer" they sign him up. He delivers immediately by dusting a couple and a few more while cozying up to the local madame (Jan Sterling).
From it's poorly paced heavy handed opening scene Gun is a hackneyed mess of stilted performances and fumbled editing with Tollinger spending most of his time giving bad guys the edge before goading and wasting them. Visually it basically moves between a quartet of interiors and main street (which looks very much like the one used in The OxBow Incident) where the lackluster histrionics play out around the sedated Mitch whose law and order policy starts to litter the place with desperadoes. Performances are basically flat, save for an outrageous accented turn from Ted DeCorsia as Frenchy and James Westerfield over few brief moments. Mitchum whose laid back style would make him a film legend cannot get past the banal dialogue however and director Wilson ends the picture as it began in the same mawkish fashion.
Clint Tollinger in search of his family rides into a town menaced by a mysterious land baron whose boys tend to do as they please. The local sheriff is a doormat and when word gets around Tollinger is "town tamer" they sign him up. He delivers immediately by dusting a couple and a few more while cozying up to the local madame (Jan Sterling).
From it's poorly paced heavy handed opening scene Gun is a hackneyed mess of stilted performances and fumbled editing with Tollinger spending most of his time giving bad guys the edge before goading and wasting them. Visually it basically moves between a quartet of interiors and main street (which looks very much like the one used in The OxBow Incident) where the lackluster histrionics play out around the sedated Mitch whose law and order policy starts to litter the place with desperadoes. Performances are basically flat, save for an outrageous accented turn from Ted DeCorsia as Frenchy and James Westerfield over few brief moments. Mitchum whose laid back style would make him a film legend cannot get past the banal dialogue however and director Wilson ends the picture as it began in the same mawkish fashion.