Copyright 18 August 1954 by Universal Pictures Co., Inc. No New York opening. U.S. release: 1 January 1955. U.K. release: February 1955. Australian release: 18 February 1955. Sydney opening at the Capitol: 18 February 1955 (ran one week). 8,544 feet. 95 minutes. SYNOPSIS: Mild-mannered deputy tackles the crooked saloon owner of Restful.
NOTES: Third version of the 1930 Max Brand novel. Tom Mix starred in the 1932 movie, directed by Ben Stoloff from a script by Richard Schayer, with Claudia Dell as "Frenchy". This latter part was a natural for Marlene Dietrich in the 1939 version, directed by George Marshall no less. James Stewart was also perfectly cast as Tom Destry.
VIEWER'S GUIDE: An unsavory fight between two women plus the usual "A"-western violence make this film unsuitable for children.
COMMENT: While it is not a patch on the 1939 movie, Destry emerged in 1994 (the first time it was shown in color on local television) as solid entertainment. (It has since been re-broadcast many, many times). Audie Murphy makes a most suitable Destry, and there are equally sound character portrayals from the likes of raspy-voiced, crookedly smiling Lyle Bettger (our favorite heavy of the 1950s — and cast here in a major role), venal Edgar Buchanan (always a reliable player, but we like him best as the sort of frighteningly comic, seedy villain he plays here), Wallace Ford as a henpecked medico and Alan Hale as a brawny but not over-bright trail boss.
As for Mari Blanchard, she plays well enough, but lacks the gusto of her dubbed singing voice. Overall, she has little charisma. Although adequately attractive, there's nothing to distinguish her from any other well-trained Universal starlet.
The movie has been appealingly mounted in sets and costumes. Marshall has directed with pace and reasonable style. The climactic shoot-out is excitingly staged. And there are plenty of extras milling around. The script is suspensefully plotted, interestingly characterized and crisply dialogued. All told, despite comparisons with the 1939 movie, this re-make is nonetheless well worth seeing.
P.S. I didn't mention Lori Nelson because her role is small. As for veteran Thomas Mitchell, he has the sort of role he can play standing on his head.
NOTES: Third version of the 1930 Max Brand novel. Tom Mix starred in the 1932 movie, directed by Ben Stoloff from a script by Richard Schayer, with Claudia Dell as "Frenchy". This latter part was a natural for Marlene Dietrich in the 1939 version, directed by George Marshall no less. James Stewart was also perfectly cast as Tom Destry.
VIEWER'S GUIDE: An unsavory fight between two women plus the usual "A"-western violence make this film unsuitable for children.
COMMENT: While it is not a patch on the 1939 movie, Destry emerged in 1994 (the first time it was shown in color on local television) as solid entertainment. (It has since been re-broadcast many, many times). Audie Murphy makes a most suitable Destry, and there are equally sound character portrayals from the likes of raspy-voiced, crookedly smiling Lyle Bettger (our favorite heavy of the 1950s — and cast here in a major role), venal Edgar Buchanan (always a reliable player, but we like him best as the sort of frighteningly comic, seedy villain he plays here), Wallace Ford as a henpecked medico and Alan Hale as a brawny but not over-bright trail boss.
As for Mari Blanchard, she plays well enough, but lacks the gusto of her dubbed singing voice. Overall, she has little charisma. Although adequately attractive, there's nothing to distinguish her from any other well-trained Universal starlet.
The movie has been appealingly mounted in sets and costumes. Marshall has directed with pace and reasonable style. The climactic shoot-out is excitingly staged. And there are plenty of extras milling around. The script is suspensefully plotted, interestingly characterized and crisply dialogued. All told, despite comparisons with the 1939 movie, this re-make is nonetheless well worth seeing.
P.S. I didn't mention Lori Nelson because her role is small. As for veteran Thomas Mitchell, he has the sort of role he can play standing on his head.