Film Review – THE TALL T (1957)

Image result for the tall t 1957THE TALL T (USA, 1957) ****
      Distributor: Columbia Pictures; Production Company: Producers-Actors Corporation / Scott-Brown Productions; Release Date: 1 April 1957 (USA), June 1957 (UK); Filming Dates: 20 July–8 August 1956; Running Time: 78m; Colour: Technicolor; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: PG.
      Director: Budd Boetticher; Writer: Burt Kennedy (based on the story “The Captive” by Elmore Leonard); Producer: Harry Joe Brown; Associate Producer: Randolph Scott; Director of Photography: Charles Lawton Jr.; Music Composer: Heinz Roemheld; Film Editor: Al Clark; Casting Director: Art Director: George Brooks; Set Decorator: Frank Tuttle.
      Cast: Randolph Scott (Pat Brennan), Richard Boone (Frank Usher), Maureen O’Sullivan (Doretta Mims), Arthur Hunnicutt (Ed Rintoon), Skip Homeier (Billy Jack), Henry Silva (Chink), John Hubbard (Willard Mims), Robert Burton (Tenvoorde), Robert Anderson (Jace), Dick Johnstone (Townsman), Ann Kunde (Townswoman), Christopher Olsen (Jeff), Fred Sherman (Hank Parker).
      Synopsis: Having lost his horse in a bet, Pat Brennan hitches a ride with a stagecoach carrying newlyweds, Willard and Doretta Mims. At the next station the coach and its passengers fall into the hands of a trio of outlaws headed by a man named Usher.
      Comment: A strong Western typical of the output from Scott and director Boetticher. The humour of the story’s first act gives way to psychological drama once Scott and O’Sullivan are taken hostage by Boone, Silva and Homeier. What sets this tale apart from many other Westerns with similar themes is the complexity of the chief villain, Boone and the empathy he builds with Scott despite the prisoner/captor relationship. This creates an additional edge to the drama and the inevitable showdown finale. Tightly scripted by Kennedy from a story by Elmore Leonard (the first adaptation of his work) and set in a sparse rocky landscape, this is one the strongest entries in Scott’s filmography.

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