Except for the title, this would have been as generic a Western as they come. With the title, virtually everything about it smacks of poetic license taken to the nth degree. Robert Taylor portrays the outlaw of Wild West legend, as other characters in the picture have their names changed while the story itself loosely assembles the history of the Lincoln County War and then just scatters it in all directions. Not only that, but Lincoln County itself has been relocated from the New Mexico Territory to Utah's Monument Valley, which actually is one of the film's redemptive efforts. The gorgeous Technicolor format shows off those rugged structures to maximum effect, even becoming part of the story when Billy's friend Pedro (Frank Puglia) is laid to rest at the base of the 'greatest tombstone in the world'.
So if historical accuracy is your thing, you probably don't want to come near this one. For my money, the best portrayal of Billy the Kid remains Emilio Estevez's take on the character in 1988's "Young Guns", where he makes the kid an almost ego-maniacal figure, but with a certain charisma that makes you kind of overlook the fact that he was an outlaw. Here, Taylor goes for a straight on, no-nonsense characterization that's often conflicted as he attempts to choose sides between town boss Hickey (Gene Lockhart) and eventual benefactor Keating (Ian Hunter). Thrown in for good measure is the Pat Garrett stand-in, here called Jim Sherwood, a boyhood friend of Billy's from the old Silver City days, a tidbit the film keeps reminding you of over and over again.
For old time Western fans, part of the attraction here is seeing who shows up as the story progresses. In particular, Lon Chaney Jr. and Guinn 'Big Boy' Williams meander in and out of a number of scenes, while lesser known veterans like Cy Kendall, Henry O'Neill, Dick Curtis and Grant Withers all appear in bit parts. Actress Mary Howard is written into the script as something of a question mark, the fiancée of Sherwood, but perhaps casting an eye for Taylor's Billy. Hmm, the story didn't go anywhere with that but you had to notice the tease.
In short, if you don't take this too seriously, it's an OK picture for Robert Taylor fans, here appearing in his very first Western. He cuts an imposing figure as the man in black, but when you come right down to it, he's no kid, and each reference to Billy's nickname simply reminds us of that fact.
So if historical accuracy is your thing, you probably don't want to come near this one. For my money, the best portrayal of Billy the Kid remains Emilio Estevez's take on the character in 1988's "Young Guns", where he makes the kid an almost ego-maniacal figure, but with a certain charisma that makes you kind of overlook the fact that he was an outlaw. Here, Taylor goes for a straight on, no-nonsense characterization that's often conflicted as he attempts to choose sides between town boss Hickey (Gene Lockhart) and eventual benefactor Keating (Ian Hunter). Thrown in for good measure is the Pat Garrett stand-in, here called Jim Sherwood, a boyhood friend of Billy's from the old Silver City days, a tidbit the film keeps reminding you of over and over again.
For old time Western fans, part of the attraction here is seeing who shows up as the story progresses. In particular, Lon Chaney Jr. and Guinn 'Big Boy' Williams meander in and out of a number of scenes, while lesser known veterans like Cy Kendall, Henry O'Neill, Dick Curtis and Grant Withers all appear in bit parts. Actress Mary Howard is written into the script as something of a question mark, the fiancée of Sherwood, but perhaps casting an eye for Taylor's Billy. Hmm, the story didn't go anywhere with that but you had to notice the tease.
In short, if you don't take this too seriously, it's an OK picture for Robert Taylor fans, here appearing in his very first Western. He cuts an imposing figure as the man in black, but when you come right down to it, he's no kid, and each reference to Billy's nickname simply reminds us of that fact.