This is a decent western—how could it not be since it stars Randolph Scott, always a cowboy who could make you believe it. Here he's a cavalry officer charged with getting gold shipments back east for the Union war effort. Trouble is there are Southern sympathizers in town, including his romantic rival (Duggan) and the hired gunsel (Pate); on the other hand, Scott's only help is a one-armed ex-Union soldier and his eye-catching wife (Dante & Steele).
Most of the action occurs in town or at the stagecoach way station, but we do get some well-chosen scenic shots in Warner Color. Also, Dante makes a likable ally for Scott, as he shows us how to fire a rifle with only one hand; at the same time, he and Scott play off one another really well. However, Mayo's role looks like an inessential add-on, maybe for marquee value.
Unfortunately, that final shootout is not up to Boetticher's usual standards— for example, Mace (Pate) looks like he wants to get shot, standing in the middle of the street as bullets fly. Speaking of the versatile Michael Pate, he seems to have been in about every sage opera of the period. But then he's got such a different look, so well suited to playing baddies.
Anyway, the overall result is not on par with Boetticher's classic Ranown series of westerns, made at about the same time, (The Tall T {1957}, et al.). It's a comparison that may indicate the importance of producer Harry Joe Brown to that exceptional series. Nonetheless, Westbound is still worth a look-see as Scott turns in another fine performance.
Most of the action occurs in town or at the stagecoach way station, but we do get some well-chosen scenic shots in Warner Color. Also, Dante makes a likable ally for Scott, as he shows us how to fire a rifle with only one hand; at the same time, he and Scott play off one another really well. However, Mayo's role looks like an inessential add-on, maybe for marquee value.
Unfortunately, that final shootout is not up to Boetticher's usual standards— for example, Mace (Pate) looks like he wants to get shot, standing in the middle of the street as bullets fly. Speaking of the versatile Michael Pate, he seems to have been in about every sage opera of the period. But then he's got such a different look, so well suited to playing baddies.
Anyway, the overall result is not on par with Boetticher's classic Ranown series of westerns, made at about the same time, (The Tall T {1957}, et al.). It's a comparison that may indicate the importance of producer Harry Joe Brown to that exceptional series. Nonetheless, Westbound is still worth a look-see as Scott turns in another fine performance.