User Reviews

I'm not a huge fan of westerns, but the info on this from IMDb drew me to watch it when it showed up on American Movie Classics, and I was richly rewarded. This is truly a beautifully done film, and makes one understand John Ford's reputation in this genre. The understated Henry Fonda and the volcanic Victor Mature somehow work well against each other. The script is low-key and naturalistic, allowing the action to stand out. The cinematography is spectacular, both in the wide open panoramas and in the more intimate personal scenes. Interior lighting, in particular, is very skillfully used. Seeing Walter Brennan playing against type, makes one appreciate how much better an actor he was than in the amiable, doddering bumpkin roles he got so typecast in later on.

To use an overworked term, a classic.

Set amid the sweeping vistas and the towering sandstone buttes and spires of Monument Valley, this John Ford film, about Wyatt Earp (Henry Fonda) and his encounters with the Clanton gang in rowdy Tombstone, Arizona, fulfills our need to experience the Old West as mythic romanticism. The visuals are striking. El Greco skies oppress a majestic and lonesome landscape of rock, dirt, dust, and cattle. Ghostly human figures confront death in heavy rain. Indoors, small, overhead lanterns emit soft light in tough barrooms. The B&W cinematography conveys a somber, moody, idealized vision of the nineteenth century American frontier.

But the film's romanticism is not just the product of adroit cinematography. The relaxed narrative weaves multiple, seemingly insignificant plot lines into a unified whole, and thus depicts the Old West as a place and time of humor, wit, religious faith, amiable conflict, even poetry and philosophy.

And so, in his heartfelt soliloquy of "the undiscovered country", Granville Thorndyke (Alan Mowbray), that congenial thespian rogue who quotes Shakespeare and who seems so out of place, adds texture and soul to the script, as a precursor to violence and death. This is after all ... Tombstone.

Inspired by the real life gunfight at the OK Corral, the story is less factual than suggestive. It's not just the film's fanciful portrayal of the shootout that abets credulity. It's the setting ... Tombstone is nowhere near Monument Valley.

But this is not a textbook. It is a romanticized cinematic interpretation of a long-ago culture, using a textbook incident as a premise. The film's theme centers on the nobility of outcasts and the basic goodness and humanism of frontier people. It's a broad-brush character study of historical figures like Doc Holliday (Victor Mature), Old Man Clanton (Walter Brennan), the Clanton sons, and of course Wyatt Earp and his sons. Although one could argue that Fonda lacks the tough guy strength and roughness that we would expect for a frontier legend, the casting and the acting are overall quite good. Editing, costumes, and production design also enhance the film's credibility.

Understated and meditative in tone, "My Darling Clementine" is a different kind of Hollywood western, one that conveys a humanistic theme with emotional depth. Characters are multi-dimensional, unvarnished, and as striking and memorable as the stately buttes and spires of Monument Valley.

Absolute perfection. Without a doubt, `My Darling Clementine' has secured its place in film immortality, resting proudly at the top of the list of the finest westerns ever made. It represents the genre at its peak and the career high point of all involved, including director John Ford and star Henry Fonda. `Clementine' achieves the difficult blend of drama, action, romance and occasional comic relief necessary to appeal to all viewers. This is the kind of film at which Ford excelled - straightforward and powerful, sentimental but never maudlin. It is needless to say that this is the definitive portrayal of Wyatt Earp and the gunfight at the OK Corral. It may not be the grittiest, most penetrating or historically accurate rendition, but it mixes just the right quantities of realism, legend and Hollywood magic. Its characterizations leave no room for improvement. Henry Fonda was born to play Earp. His folksy, unpretentious demeanor, coupled with the hard edge of a man who must occasionally deal out justice through the barrel of his gun, produce a multidimensional performance that others approaching the role could only dream of. With his portrayal of the tubercular Doc Holliday, Victor Mature forever shed his light image and began a series of solid dramatic roles. Other actors have played Holliday as flamboyant and eccentric, but Mature is effective in approaching him as a fatalist who has relinquished his aspirations of greatness and now lives life one day at a time. He forms an alliance with Earp because he has nothing better to do, and nothing else to live for. Walter Brennan's Old Man Clanton is a study in evil personified, and will certainly shock viewers who know him only as the crotchety but lovable grandfather he played on so many occasions. The rest of the cast is uniformly fine, featuring many members of Ford's `stock company' which followed him throughout his career. Ford's direction is strong and sure-footed. Although this was familiar territory for him, he was careful to instill each scene with a certain degree of uniqueness so the film would never appear routine. In this he was entirely successful, and a brief glance at his filmography confirms that this holds true throughout his body of work. The cinematography is breathtaking. Vast outdoor imagery and intimate gatherings of people are conveyed in an equally compelling manner. Earp's soliloquy at his brother's gravestone, a church dance sequence and the gunfight itself are among the film's many highlights. Only so much praise can be given in a review such as this; it must be seen to be appreciated.

It's 1882. Wyatt Earp (Henry Fonda) and his brothers are driving cattle to California when they encounter Old Man Clanton who tries to buy their cattle with a low-ball offer. Wyatt kindly rejects the offer. The Earps stop at Tombstone to find a lawless town. Their cattle gets stolen and Wyatt's youngest brother James is murdered by unknown assailants. Wyatt suspects the Clantons and takes the job of town marshal. Volatile gambler Doc Holliday (Victor Mature) returns to town. Doc's past Clementine Carter (Cathy Downs) tracks him down all the way from Boston despite his refusal for her help. Doc's present day friend Chihuahua (Linda Darnell) is not happy with her presence.

I really love the start and Henry Fonda can do no wrong especially as a stoic heroic lead. I have a bit of an issue with Victor Mature. I can't forget Val Kilmer playing the role who is so much more fun. Mature is more angry than sickly. As for the iconic shootout, again I really love the start. Monument Valley looks epic in the background. I love the slow walk up to the OK Corral. Then the action isn't quite as epic. Director John Ford would say that he extended it from a 30 seconds fight but it doesn't really measure up to modern action scenes. All in all, this is a classic for its time.

If it comes to historical accuracy "My Darling Clementine" is not the version of the OK Corral gunfight you should look for (it lasted 31 seconds and the contenders where no more than 9 or 10 feet away). So what has this film that makes it so "classical" to most viewers? I've always wondered.

As for direction, John Ford has made better things. The black and white release helps the atmosphere and is good. The cast is mostly adequate, mainly Henry Fonda and Walter Brennan. acceptable musical score. Outdoor filming in open wide sceneries is fine as well.

But how in the name of God could they cast Victor Mature as "Doc" Holiday I'll never understand. His usual and classical over-overacting literally damages the movie badly. His part is too important to overlook his terrible acting. This is not the first potential classic that Mature ruined with his performance (other one is "The Egyptian", though he got a lot of help there from Edmund Purdom in the main role).

And also, how could a smart director like Ford include a scene where Fonda faces Mature in a gun duel and shoots "Doc's" gun right off his hand in the most pure "Lone Ranger" style? I must say too that the film is sortof slow, but I admit this could be a matter of opinion.

Don't get me wrong; "My Darling Clementine" is a watchable western, but no "classic" could have such flaws. Just a 6 out of 10 for me. Sorry.

Exciting classy Western with plenty of tension , thrills , shoot'em up , high body-count and it has now become accepted as a classic of the genre .This is a vigorous recounting of a familiar tale , dealing with the legendary lawman from Dodge City who moves to Tombstone , Arizona , aiming to begin a new life along with his brothers , Virgil (Tim Holt) and Morgan (Ward Bond) . This trigger-taut Western drama deals with a lawman Wyatt Earp , at the begining Wyatt is a cowboy , a nomadic savage transporting his cattle and he subsequently befriends a badman gunslinger and philosopher Southern gent who usually coughs , called Doc Holliday , (Victor Mature who excels , giving comsumptive conviction to character) , the strangest friendship this side of heaven and hell . They fought shoulder to shoulder in the wildest stand-up gunfight in the history of the West . As the fabled showdown is seen at the final way through this film . They are the strangest alliance between the West's most famous sheriff Wyatt Earp , trying to overcome outlaws and his deadliest gambling killer , Doc Holliday. It's incomparably performed by the greatest team who ever went into action , Henry Fonda portrays the large-than-life lawman , living by the old rules , driven by revenge , dueling to the death and Mature is most impressive as a gunslinger , the hellfire gambler , his only friends were his guns and his only refuge was a woman's heart , Chihuahua (Linda Darnell) . Two towering Box office actors in a huge exciting production . The film correctly builds up its suspense until a tense battle in streets of Tombstone , it is the highlight to the story .The Roaring West At Its Reckless Best! . Reckless, Riotous Frontier Adventure! . She was everything the West was - young, fiery, exciting.

This is an overwhelming Western , though too self-conscious , as the death of an intimate brother results to be the start of a small war between the revenger Earp and the baddies . As when a beloved sibling is murdered it marks the turning point of Wyatt's transition from a wandering cowboy , to bent on vendetta , settled , civilised , and the Marshall who administers the law . Based on a story by Sam Hellman from a book by Stuart N. Lake . In fact , it was the third adaptation , 1ª was : Frontier Marshal 1934 and second : 1939 Frontier Marshal by Allan Dwan . It was partially panned and by no means acclaimed in its day , but nowadays , being well considered , may be seen by some as unoriginal and cliched but is really a very fashionable outing in Earp saga and a throughly agreeable Western . The movie's enjoyability , authenticity , and greatness rests not only in the accuracy of the ending gun-play , but in the well orchestred series of incidents , such as : Earp's visit to barber shop , the dance in the unfinished church , Fonda 's poker game , the romantic scenes between Fonda and Cathy Dows , all of them give a deep meaning to this spledid picture . Decorated by import themes of camaraderie , brothership , fidelity , family and action that were to dominate Ford films for the first post-II world war decade as never before . Victor Mature coming up trumps as Holliday , he delivers a surprisingly awesome acting , stealing clearly the show , a character designed for scenary chewing , giving an attractive portrayal of the doomed dentist . Although overlong , but blessed with a high-energy level , thanks to noisy action , spectacular horse riding and rousing shooting . As the picture benefits itself from despictable villians as Walter Brennan as epitome of evil as Old Man Clanton , he is accompanied by his sons , Grant Whiters and John Ireland is again on the side of Clanton's family just like he was 10 years later in ¨Gunfight at OK Corral¨. The film focuses Tombstone , 1881 , with stimulating scenes about OK Corral gunfight between Morgan , Virgil , Wyatt Earp , Doc against the nefarious old Clanton , Ike , Billy Clanton ,and other brothers . It is good enough to form the main axis of several other sturdy western films. This main character is a historical figure , in this case the sheriff Wyatt Earp who participated the most famous duel occurred in the western town of Tombstone in 1881 that has been brought to the big screen many times as in this classic "My Darling Clementine" in 1946 directed by John Ford , in "Gunfight at O.K. Corral" (1957) with Burt Lancaster , Kirk Douglas directed by specialist John Sturges who would resume the same story in "The Hour of the Gun" (1967) ; the demystifying "Doc" (Frank Perry, 1971) with Harris Yulin and Stacy Keach or the more modern ¨Wyatt Earp¨ (Lawrence Kasdan, 1994) with Kevin Costner and Dennis Quaid and Tombstone: Wyatt Earp 's legend (1993) by George P. Cosmatos, 1993) with Kurt Russell , Bill Paxton , Thomas Haden Church , Stephen Lang , Dana Denaley , Robert Burke and Val Kilmer

This is a story enormous in scope ,unusual in concept with a mile-a-minute action on a climatic and thrill-a-minute gunfight. Packs a magnificent and marvelous cinematography in Black and White with a nice sense of period , and in overblown and amazing deep by Joe MacDonald . As well as adequate costuming and lavish production design . This thrilling film contains a spectacular and lyric musical score by Cyril Mockridge who composes a rousing soundtrack . The motion picture was compellingly directed by John Ford . This Ford's film , studded with stunning individual scenes turns out to be the definitive rendition of this great story . As Ford said: ¨I knew Earp and he told me about the fight at the OK Corral , so we did it exactly the way it had been¨.

It is worth to see the film because of the many outstanding actors who might have contributed to the high ranking. But the film, although entertaining, is in parts rather boring. It is hardly to be understood why they ignored the historic facts so much that it is not bearable for anybody who likes to have treated truth with more respect. It would have been better to change names to create just a simple story about the wild west. It is in my opinion of no use at all to show history in falsifying history. I am a strong opponent to this. If history is too boring You need not make a film about it, choose something else or relate a tale. That is much better. Compared with other westerns of the time, this one is not very convincing. To locate Tombstone in the Monument Valley is not excusable. Ford did not care a penny for the ridicule he must have received from all the Arizona audience. But You have to respect the claims of people who live in the area where historic incidents happened. They claim more accuracy and they have the right to do this. Hollywood is of course not bound to facts or history, but it is much more appreciated if they do not only make fantasy films when the reality is much more interesting. The art is not in displaying fantasy but in making sense, something beautiful for the eyes and something bothering for the mind.

I find this film entrancing. Smoke rising. The desert at night. Clouds at midnight. This new (to us) version is quieter, less score. I would love to be out there on that porch, tilting my chair back, waiting for the stage to come in. Beautiful transfer on the DVD, I found myself struck, moved by frame after frame. The sound of a single horse across monument valley, the fury of Doc Holiday's stage coach tearing through the landscape. A lamp-lit bar and a woman moaning under the knife, like a dying ember. Three figures stepping out like giants into the landscape. Robert Ryan seated in the wind and dust at the end of the Wild Bunch, it all comes from here. There is so much to learn from this film.

Director John Ford takes extensive liberties with the facts in this version of the events that led to the infamous 'gunfight at the OK corral'. This is evident from the opening scenes, in which Tombstone is seen nestled amongst the unmistakable buttes of Monument Valley (which is 500 miles north of the actual town) and young James Earp is murdered (he actually died 35 years later of natural causes), to the final scenes, the shooting of a character who in fact died several months before the gunfight. Despite these, and other glaring inaccuracies, the film is a well-acted and entertaining A-list western. Fonda is as good as always as Wyatt Earp, as is the usually avuncular Walter Brennen as the murderous "Old Man" Clanton, but I didn't find Victor Mature to make a particularly convincing 'Doc' Holiday. The rest of the cast, which includes a lot of well-known character actors and some of Ford's usual players (such as Ward Bond (who plays Morgan Earp), Jane Darnell and Russel Simpson), are fine. The main story of the mounting hostility between the Earps and the Clantons is great but I didn't find the secondary story, a love triangle involving Doc Holiday (who was a dentist, not a surgeon), the titular Clementine (a bland Cathy Downs), and saloon singer Chihuahua (a clichéd Linda Darnell) to be very interesting. Although apparently not the easiest person to work for, Ford was an excellent filmmaker: the black and white desert cinematography is striking and the climatic gun-fight is dramatic and realistic (as movie gunfights go). While I would not rank "My Darling Clementine" amongst the director's best oaters (such as Stagecoach (1939), the cavalry trilogy (1948-50), or The Searchers (1956)), it is a fine western (but not much of a history lesson).

John Ford's exquisite film about marshall of Tombstone, Wyatt Earp and Doc Holliday and their incredible gunfight against the Clantons at the O.K.Corral. Dramatic and wonderfully brooding, Ford employs it all here; perfect lighting, superb photography and as always, a fabulous and unmatched use of the camera. Many other films have been made on this subject, but you need look no further than this cinematic masterpiece.

My Darling Clementine, for those who haven't seen it, may seem just another version of the life of Wyatt Earp, arguably the most famous legend of the West. But the approach of maverick filmmaker John Ford is unique: Doc Holliday is shown as a tormented man, both in mind and soul, and Earp is not a hero fighting the evil, but a honest man doing the job he is paid for- and Ford done the right thing calling not the movie-star-like John Wayne, but the more "fellow next door" Henry Fonda, which gives one of his best, if not the best, performances ever. The lives of both are changed when Clementine arrives: she is very polite, cultured, and sweet as possible, like a vision of another world, and in a certain way, is indeed, because she symbolizes civilization. And what the real subject of the film is (not unlike The Man Who Shot Liberty Valance), is the beginning of civilization and the end of the anarchy of the then Wild West. Both in style and substance, this is quintessential Ford, and although he made several masterpieces, it certainly ranks among my the very best, and one of the best pictures ever made.

On M*A*S*H Colonel Potter says this movie is great because it has "horses, cowboys and horses". That's a funny joke but "My Darling Clementine" is great because a lot more reasons than that. It's a beautiful movie to look at. It's funny, sad, suspenseful. It's a surprisingly quiet film. John Ford strikes the perfect balance between all of those elements. The cast is great, although I wish Ward Bond had more to do. I haven't watched "My Darling Clementine" in quite a while. Shame on me. I won't let that happen again.

The stories of Wyatt Earp, Doc Holliday and the town of Tombstone are always interesting and have always been told just a little differently through the years on film.

I've read where this movie was supposed to be based more on fact than some of the other versions, but I've heard that before, so I have my doubts. Well......more than doubts...but are ANY of the versions really true? Probably not, so you just enjoy each film for what it offers.

Henry Fonda makes a good Earp but Victor Mature as Holliday doesn't fit. In re- makes, we saw Val Kilmer and Dennis Quaid do far better in the role. Walter Brennan, however, was very good as the nasty father of the Clanton family. Too bad he didn't have a bigger role. The female lead in the movie was played by Cathy Downs, a wholesomely-beautiful woman. I am surprised she never amounted to making more than no-name films after this one.

Once again, director John Ford returns to his favorite location, Monument Valley, and provides us with some memorable panoramic scenes of that area, particularly in the beginning of the film.

The DVD has the film version that was not seen in theaters. This version is 10 minutes longer, showing footage that was cut by studio head Daryl Zanuck. It didn't make much of a difference. In fact, if anything, the film lags in a few spots with this longer version, but it's nice to have the complete package.

Anyone who has the slightest casual knowledge of the events leading up to and surrounding the showdown is going to be disappointed. I mean, this film can't even disclaim 'based on a true story', it's so far off. All that would have been necessary to make this into a film not so darned distracting was to have it exactly as presented, but not with the names Earp, Holliday and Clanton.

If you were to ask me who was my favorite pick out of all of the actors who have played Wyatt Earp over the past century (Burt Lancaster, Kurt Russell, Kevin Costner, James Garner, etc) I would have to pick Henry Fonda and the favorite film about Earp and the gunfight at the O.K. Corral would probably be the one he's tied to: John Ford's poetic Western "My Darling Clementine." Now if one is looking for historical accuracy, one will be vastly disappointed. But if one is looking for artistic, allegorical, and poetic film-making at its very best, from one of the greatest directors who ever lived, then, well you get the idea.

Unlike a great many other films of the same tale, "My Darling Clementine" may be in plot about Wyatt Earp and Doc Holliday and the plot may lead up to the inevitable gunfight at the O.K. Corral. But in terms of the story, that's not at all what it's about. I guess part of the reason why Ford chose to make a less-than-accurate version of the story was because he wanted to give us the poetic view of the West and the changing times and therefore some alterations had to be made from the facts. The movie is really about the transformation of the Western front from the dusty, raucous and untamed prairie into the dawn of civilization.

Unlike other adaptations, such as "Gunfight at the O.K. Corral" (1957), "My Darling Clementine" uses real-life characters and invents some fictional ones to be allegorical personifications of the fate of the Western frontier. The undisputed villain of the story, Old Man Clanton played magnificently by Walter Brennan, represents the rowdy lawlessness that people tend to associate with when they think of the Old West. Victor Mature as the tubercular Doc Holliday represents the slow death of this generation. Wyatt Earp is portrayed in a gentler, more sophisticated manner by Henry Fonda, who doesn't even carry a gun throughout most of the film. This is perhaps Ford's way of showing that the real tamer of the West was a calm mind and human intellect rather than a quick hand with a six-gun. Part of the reason why I admire Fonda's performance so much is that he uses not physical force, but psychology, a smart use of words, and a cemented stubbornness to bring order to town. And perhaps the most important character in the story is the title character, a woman, Clementine played by Cathy Downs. The movie makes a gradual change in tone after her introduction, because she represents the oncoming of civilization. And like civilization, some welcome here, some try to push her out, but her presence does not go unnoticed.

Unlike other retellings, "My Darling Clementine" takes the liberty of excusing numerous scenes of gunplay and violence, placing the majority of them at the beginning and in the climactic shootout at the end. In other movies, this routine either slows down the pacing or transforms the story into basically a run-of-the-mill action picture. Ford gives us enough violence to show how rowdy the West once was, but fazed it away as it did once civilization and law began to take over.

"My Darling Clementine" would probably be a universally loved Western if it were more accurate for the historians. Being familiar with the real story of Wyatt Earp, I spotted inaccuracy after inaccuracy, but it didn't spoil my fun, for I realized what Ford was doing. He wasn't interested in simply telling the same story over again. And the greatest and most memorable part of this Western is not the gunfight, but rather a very sweet little scene where Wyatt Earp and Clementine dance at the dedication of a church, another sign of changing times.

Henry Fonda (Wyatt Earp) and his 3 brothers are driving cattle towards Mexico when his youngest brother Don Garner (James) is murdered and the cattle stolen. As a result of this action, Fonda takes the role of Marshall in the town of Tombstone. Here he meets with Victor Mature (Doc Holliday), a hard-man drifter with a reputation as a killer, and 2 women from the Doc's life - Linda Darnell (Chihuahua), a prostitute from the town's saloon bar and Cathy Downs (Clementine) who is a girl from a good background and a good town. Walter Brennan (Old Man Clanton) is also on the scene with his 4 sons. The film climaxes with the famous gunfight at the OK Corral.

What a shame that this film twists the facts. There are several inaccuracies, eg, the fate of Doc Holliday, Wyatt Earp's brothers aren't in the right order, the fate of James Earpp, Old Man Clanton was dead before the gunfight....the list goes on. As a slice of history, I find it disrespectful to those involved and to the audience watching. So, this film is to be watched as a piece of fiction.

As a piece of fiction, it's a good story and it's acted by a good cast, although the film does drag in the middle section. Henry Fonda and Walter Brennan steal the acting honours. Fonda plays the part with a few comedic moments that work and serve to increase your liking of the main character, eg, the scene where he rides into town and wants a shave. Cathy Downs is a bit of a drip - I have no idea why the film is called what it is other than to get the song in. The music is good during the film, but a main criticism will have to be the actual gunfight. There is a bit of tension built up before the gunfight but as for the event - blink and you'll miss it! It's an OK film and I'll be keeping onto it to watch again but I would have preferred to have seen an accurate account.

For a long ways into My Darling Clementine, I was a little disappointed. This was supposed to be one of the best works from a director whom I have come to love quite dearly, and I was growing a bit bored. I mean, I was finding it good, but nowhere near the level of some of Ford's other films. But as the film progressed, it drew me further and further into it, until it was almost as if I were experiencing the events and emotions of the film myself, as if I were not watching it on a television screen. How often does that happen? Maybe only a handful of all films have that power.

I'll tell you what My Darling Clementine has that even Ford's other masterpieces don't: slow build. There is a sort of an action sequence nearer the beginning where Wyatt Earp (Henry Fonda) vanquishes a psychopathic Indian with a hair trigger finger, but the action is done offscreen (this scene obviously inspired Akira Kurosawa to create the cognate scene in The Seven Samurai where Takashi Shimura, the head of the seven samurai, defeats a madman at the beginning of that film). After that, there is one brief fight between Wyatt and the Clampetts, whom we always assume killed young James Earp at the movie's opening. After that, the tension rises as slowly as possible until the two climactic sequences, where the Clampetts are finally discovered as the guilty party and then call on the Earps and Doc Holiday to a shootout at the O.K. Corral. Both of those sequences can be counted among the very best, the most suspenseful and the most satisfying in the annals of film.

There's not too much I could really say about the film. It has an powerfully bittersweet tone that is all its own, but that must be experienced and cannot be described. The acting is very good. Henry Fonda gives one in a series of brilliant performances in John Ford's films. Victor Mature is amazing as Doc Holiday. Perhaps the biggest disappointment in the film is the squandering of Jane Darwell's immense talent, who was so good in Ford's The Grapes of Wrath, in which she played Fonda's mother, that she won a Best Supporting Actress Academy Award. Her appearance in this film is little more than a cameo, where I was constantly hoping that her character would become more important in the film. One more thing that I ought to praise highly about the film is the marvelous use of music. Most classic Hollywood films overuse their musical score, even John Ford's films. On this film, Ford really utilizes the absence of music. Almost any other film would have tried to enhance the suspense of the shootout by drowning it in score, but almost no music is used at this point. It triples the suspense. 10/10.

Oh, I've got to tell you my favorite unintentionally funny exchange of dialogue in the film:

Wyatt: Did ya ever fall in love, Mac? Mac (the bartender): Nooo, I'm just a bartender.

What?!?! That speaks kind of poorly for the life of a bartender!

This will be hard to review because I personally disliked the film, but I will try to do this without bias. If you love westerns, this is for you. The cinematography is fantastic; it is one of the things I truly respected about the film. I often forgot that a lot of this was done on set. Don't get me wrong. There were quite a few "I can tell they're in front of a wall." shots, but in the mid 40's this was common and hard to go around. The shots of horses from down below and up above give the illusion of it being real similar to how James Cameron shot those classic titanic scenes on the front of the ship and moved the camera to give the illusion that the boat was going over water. The acting was good for the time overall. Usually there's 1 or 2 good actors at most and everyone else feels forced. Almost everyone holds up to the standards of the time. The directing overall was good and it influenced the overall flow of the movie. The story and plot was pretty decent for the time and it had some interesting plot twists. It felt very real, which I think was the main flaw if I can call it that. It was very slow like you'd assume life back then would be like, but unless if you are staring at the beautiful painted backgrounds it will get boring after a while. It's nice to get a different pace, but it isn't a different pace for a western which makes me feel like there was little innovation even though they did a pretty decent job overall. The events in the later portion of the movie also felt forced like they were trying to make this more like a history lesson than a movie. It's only 90 minutes long, but still. I also have to mention that it had great sound and sound editing. This is still a very solid western movie, but don't expect one of the best movies ever or something revolutionary.

Director John Ford, working without John Wayne this time, instead casts Henry Fonda as Wyatt Earp who, in this version, arrives in Tombstone Arizona on a cattle drive with his brothers Morgan(Ward Bond),& Virgil(Tim Holt). When they leave the herd in the care of third brother James, they are dismayed to later discover him murdered, and their herd stolen by ruthless cattle rustler Ike Clanton(Walter Brennan) and his sons. Wyatt becomes town Marshal to seek out the proof he needs to get the Clantons, with the help of old friend Doc Holliday(Victor Mature) which sets up the famous showdown. Along the way, he finds himself romancing the local schoolteacher Clementine...

Strangely dull film has some good direction but moves like molasses and takes far too many liberties with history to even resemble the truth; they may as well have told a whole new(and entirely fictional) story for all the difference it makes. Good cast can't save it, though it is highly regarded by many.