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Well, well. So this is Dodge City, huh? Sort of smells like Fort Worth, don't it? "Dodge City, Kansas - 1872. Longhorn cattle center of the world and wide-open Babylon of the American frontier - packed with settlers, thieves and gunmen". "Dodge City... rolling in wealth from the great Texas trail-herds... the town that knew no ethics but cash and killing". Enter trail boss Wade Hatton, cunningly disguised as a dashing Errol Flynn... Dodge City, an all action Western from start to finish, finds Errol Flynn (in his first Western outing) on tip top form. Based around the story of Wyatt Earp, Michael Curtiz's expensively assembled film charms as much today as it did to audiences back in 1939. All the genre staples are holding the piece together, dastardly villains, pretty gals, wagon train, cattle drive, iron horse, Civil War, shoot outs, fist fights and of course an heroic Sheriff. All neatly folded by the astute and impressive Curtiz. Aided by Sol Polito's fluid Technicolor enhanced photography, and Max Steiner's breezy score, Curtiz's set pieces shine as much as they enthral. A burning runaway train and the finest saloon brawl in cinema are the stand outs, but there are many other high points on which to hang the hat of praise. Very much a male dominated film, it's with the ladies that Dodge City fails to reach greater heights. Olivia de Havilland, who is always a feast for the eyes in Technicolor, disliked her role as Abbie Irving, and it's not hard to see why. There is not much for her to get her teeth into, it's a simple role that demands nothing other than saying the lines and to look pretty. Ann Sheridan as Ruby Gilman gets the more sparky role, but she sadly doesn't get that much screen time. Which is a shame because what little there is of Sheridan is really rather great. Those problems aside, it's with the guys where the film is rightly remembered. Flynn attacks the role of Hatton with gusto and a glint in his eye. When he straps on the Sheriff badge for the first time it's akin to Clark Kent shredding his suit to become Superman. Yes it's that exciting. Bruce Cabot and Victor Jory are growly and great villains, while comedy relief comes in the fine form of side-kickers Alan Hale and Guinn 'Big Boy' Williams. Picture sets out to entertain, and entertain it does. In a year that saw other notable and lauded Westerns also released (Stagecoach, Jesse James and Destry Rides Again) give credit where credit is due, for Dodge City deserves its place amongst those other genre offerings - and most assuredly so as well. 8/10
A mediocre western set to be carried by the charisma of its two leading actors. Root out the bad guys and get the girl is what "Dodge City" can be boiled down to. It has many predictable moments that you don't have to be an astute viewer, to see coming. That fact does, however, not make it a drag to watch, which is down to the phenomenal cast. Olivia de Havilland doesn't get much to do except to stand around and look pretty, which is such a waste of one of the finest actresses the medium ever had. Flynn is charming and charismatic as ever. Alan Hale does a great job as the funny sidekick that you cannot help but adore as the film goes on. One thing the film itself deserves praise for, is its bar fight, which has to be the nuttiest one I have seen in any western. They go all out, and I can't imagine someone didn't get hurt for real during it. It's a motion picture mostly for die hard fans of cast members such as Flynn or de Havilland. Other than that, there's not much to it. If you're not the biggest western fan, this surely won't win you over, and western connoisseurs will most likely be bored.
Pat Garrett is hired as a lawman on behalf of a group of wealthy New Mexico cattle barons to bring down his old friend Billy the Kid.
A small-town sheriff in the American West enlists the help of a disabled man, a drunk, and a young gunfighter in his efforts to hold in jail the brother of the local bad guy.
From Wichita to Dodge City, to the O.K. Corral in Tombstone, Wyatt Earp is taught that nothing matters more than family and the law. Joined by his brothers and Doc Holliday, Earp wages war on the dreaded Clanton and McLaury gangs.
A group of young gunmen, led by Billy the Kid, become deputies to avenge the murder of the rancher who became their benefactor. But when Billy takes their authority too far, they become the hunted.
Four unwitting heroes cross paths on their journey to the sleepy town of Silverado. Little do they know the town where their family and friends reside has been taken over by a corrupt sheriff and a murderous posse. It's up to the sharp-shooting foursome to save the day, but first they have to break each other out of jail, and learn who their real friends are.
When a Midwest town learns that a corrupt railroad baron has captured the deeds to their homesteads without their knowledge, a group of young ranchers join forces to take back what is rightfully theirs. They will become the object of the biggest manhunt in the history of the Old West and, as their fame grows, so will the legend of their leader, a young outlaw by the name of Jesse James.
The simple story has the pair coming to the rescue of peace-loving Mormons when land-hungry Major Harriman sends his bullies to harass them into giving up their fertile valley. Trinity and Bambino manage to save the Mormons and send the bad guys packing with slapstick humor instead of excessive violence, saving the day.
Three of the original five "young guns" — Billy the Kid, Jose Chavez y Chavez, and Doc Scurlock — return in Young Guns, Part 2, which is the story of Billy the Kid and his race to safety in Old Mexico while being trailed by a group of government agents led by Pat Garrett.
Two brothers who hate themselves are going to spend Christmas with their mother. She tries to get them together.
William Blake, an accountant turned fugitive, is on the run. During his travels, he meets a Native American man called Nobody, who guides him on a journey to the spiritual world.
After 25 years, an ex hired gun visits his old colleague, who is now a small town sheriff. Their past relationship is explored, as is how they reflect on it in the present.