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Sinner or Sinned Against? Valerie is directed by Gerd Oswald and written by Leonard Heiderman and Emmett Murphy. It stars Sterling Hayden, Anita Ekberg and Anthony Steel. Music is by Albert Glasser and cinematography by Ernest Laszlo. John Garth (Hayden) is arrested and put on trial for the wounding of his wife Valerie (Ekberg) and murder of her parents. The trial hinges on three testimonies, each telling in flashback what actually unfolded to lead up to the bloodshed. But who is telling the truth? Set in the West, a murder mystery with a noirish edge, with crisp black and white photography keeping things in the ream of sombre, Valerie is a mixed bag. Yet it works as entertainment, the screenplay has some surprises in store, where it’s not afraid to paint a world of wanton desires, seedy suspicions, violent mistreatment and possible war tainted masochistic tendencies. The court case at the centre of tale throws up the sometimes fragility of the law, with some biased spice and hurtful hearsay added into the mix, and it all builds nicely to a dramatically bleak finale. Hayden delivers one for his fans, all straight backed machismo and menacing drawl, and Ekberg scores well as a scenic beauty who deftly pulls of a dual portrayal that calls for seduction or victim credibility. Steel, Ekberg’s real life beau, is a bit lightweight but doesn’t harm the drama, while there’s not much airy landscapes to enjoy (filmed on location at Iverson ranch in Chatsworth). Still, this is very much one for fans of the stars to seek out, whilst noir and Western fans will find pleasures too. 7/10
Peggy Barlou is a young rancher who refuses to sell her spread to greedy stage-line proprietor John Rankin. Tex Haines, meanwhile, is accused of killing Bill Dugan, Rankin's bodyguard, but eludes capture long enough to hook up with Dave Wyatt and Panhandle Perkins, a couple of rangers in disguise.
A cowboy investigating his brother's murder finds himself going up against a banker who holds the deed to the cowboy's family ranch.
In this western, an innocent saddletramp is blamed for killing a man. Fortunately he finds the real culprit before it is too late.
Hud Bannon is a ruthless young man who tarnishes everything and everyone he touches. Hud represents the perfect embodiment of alienated youth, out for kicks with no regard for the consequences. There is bitter conflict between the callous Hud and his stern and highly principled father, Homer. Hud's nephew Lon admires Hud's cheating ways, though he soon becomes too aware of Hud's reckless amorality to bear him anymore. In the world of the takers and the taken, Hud is a winner. He's a cheat, but, he explains, "I always say the law was meant to be interpreted in a lenient manner."
Jim Craig has lived his first 18 years in the mountains of Australia on his father's farm. The death of his father forces him to go to the lowlands to earn enough money to get the farm back on its feet.
A simple yet proud rancher conspires to murder his wife for financial gain, convincing his teenage son to participate.
In the Oklahoma territory at the turn of the twentieth century, two young cowboys vie with a violent ranch hand and a traveling peddler for the hearts of the women they love.
After a few years trying to earn money to marry Jessica Harrison, Jim Craig returns to Snowy River. But he finds that a lot of things have changed.
An authoritarian rancher rules an Arizona county with her private posse of hired guns. When a new Marshall arrives to set things straight, the cattle queen finds herself falling for the avowedly non-violent lawman. Both have itchy-fingered brothers, a female gunman enters the picture, and things go desperately wrong.
Ageing, wealthy, rancher and self-made man, George Washington McLintock is forced to deal with numerous personal and professional problems. Seemingly everyone wants a piece of his enormous farmstead, including high-ranking government men and nearby Native Americans. As McLintock tries to juggle his various adversaries, his wife—who left him two years previously—suddenly returns. But she isn't interested in George; she wants custody of their daughter.