User Reviews

MGM Western movie with glimmer Technicolor cinematography , impressive landscapes and including romance of the daring pioneers of the West . This is a good Western , plenty of action , shootouts , thrills and fist-play . It's a thrilling western with breathtaking confrontation between the protagonist , his enemies and savage Indians Pawnies . Late in the American Civil War, from an Union prison called Camp Benton, our handsome hero, a Confederate Sergeant called Will Owen (Joel McCrea) is imprisoned at a hard Northern jail , he is a highly respected Southern official . But he escapes along with Jesse Wallace (Barry Sullivan) and Clint Priest (James Withmore) . Soon fall into the hands of pro-Confederate raiders, followers to leaders Bushwhackers as Quantrell and Anderson , such as as Keeley (Jeff Corey) and Bye (Ted De Corsia) , two roguish confederate rebels , both of whom have a war task for them who force them to act as "outriders" or escorts for a civilian wagon train that will be secretly transporting Union gold among the personal possessions in the caravan of Don Antonio Chaves (Ramon Novarro) from Santa Fe, New Mexico, to St. Louis, Missouri . They are eventually able to convince Don Antonio to be his escorts or outriders . The three men are to lead the wagons into a raider trap in Missouri, but one of them begins to have misfortunes and misgivings . As they guard the caravan from marauding Indians and other dangers along the way . Meantime , Will Owen falls in love a beautiful woman named Jen Gort (Arlene Dahl) , a recent war widow, who is accompanied by her teenaged brother-in-law Roy Gort (Claude Jarman Jr.) .

This Western is a superior outing because it displays thrills , emotion , shoot'em up , brawls , intrigue , riding pursuits and many other things . There is filled with action in the movie , guaranteeing some shots or stunts every few minutes . Interesing and moving screenplay by Irving Ravetch based on his own story . Here filmmaker Roy Rowland delivers a nice film , however he could be counted on to deliver solid "B" pictures which, at MGM, were often better than most other studios' "A" pictures . Brief character studio about three escorts or outriders , Joel McCrea/Barry Sullivan/James Withmore they became friends despite their differing personalities , until the inevitable final conflict . The highlights of the movie are the spectacular as well as violent getaway from Benton Missouri Camp and the sensitive dance between Arlene Dahl and the sex-hungry soldiers . Very good support cast such as James Whitmore , Ramon Novarro , Jeff Corey , Alex Montoya , Ted De Corsia and a young Claude Jarman Jr of Rio Grande and The yearling . Colorful as well as evocative cinematography by Charles Edgar Schoenbaum supported by expert cameraman Henry Jaffa . Adequate and atmospheric production design by Cedric Gibbons , MGM's usual , though also contains abundant matte paintings . Rousing and breathtaking musical score by Andre Previn who married Mia Farrow

The motion picture lavishly produced by Richard Goldstone and MGM studios was well directed by Roy Rowland . He sharpened his directing chops at MGM with a series of shorts starting in the 1930s, then moved up to features in 1943 . Roy spent quite a bit of time at the studio, from 1943-51 and again from 1954-58 ; he had the good fortune to marry the niece of Louis B. Mayer and was the father of actor Steve Rowland . While not one of the studio's top-rank directors , he was a good professional who had a considerable success . Most were B-movies, but he occasionally handled such A-graders . His greatest hit was , of course , the fantasy movie titled The 5000 fingers of Dr T (1953) . Rowland made an action picture for independent release based on a Mickey Spillane "Mike Hammer" novel starring Spillane himself (Girl hunters (1963)) . He specialized in a variety of genres, including musicals : ¡Viva Las Vegas! (1956) The seven hills of Rome (57) , Two weeks with love (50) and dramas : Our wines have tender grapes 45 with Edward G Robinson (1945). He was also responsible for the tough, fast-paced Rogue Cop (1954), one of the few MGM films that could be considered "film noir". Roy was a Western expert , as the last film he made at MGM was a "B" western with Stewart Granger, Gun Glory (1957); besides , he filmed Bugles in the afternoon with Ray Milland and Many rivers to cross with Robert Taylor ; after which and then he traveled to Europe for a string of Spanish/Italian-made westerns such as Los Pistoleros De Casa Grande and Ley Del Forastero . His final film as director was a somewhat cheesy pirate movie (he was uncredited ; his Italian co-director Sergio Bergonzelli got sole credit) called El Tigre De Los 7 Mares and its sequel : Tormenta Sobre el Pacífico (1966). He was associate producer on Nathan Juran's Italian-shot Al Infierno, gringo (1969), after which he retired.

Joel McCrea did another western with a similar premise to The Outriders for Warner Brothers in South of St. Louis. That was three partners in a cattle ranch who all went their separate ways as a result of the Civil War.

Here to the premise is three men who also go their separate ways as a result of the Civil War. Here the shared experience is prison camp. Joel McCrea, Barry Sullivan, and James Whitmore are Confederate prisoners who escape in early 1865. In effecting their escape they fall into the hands of a rebel guerrilla leader played by Jeff Corey.

Being guerrillas these guys don't play by the rules. The trio either goes west to Santa Fe to act as Judas goats and lead a gold train into ambush or die right there. Even the always honorable Joel McCrea sees he has no options here.

The rest of the story is how the conflicts internal and external are resolved and how the three escaped prisoners decide what course they have to take. Oh, and Joel McCrea meets up with Arlene Dahl and she kind of helps him along in the decision process.

The movies never had a more honorable or stalwart hero than Joel McCrea. And if you've seen any of his films, fans will know that whatever he does it will be the honorable thing. It's a tribute to McCrea that if he insisted on always being the stalwart hero, he had the talent and personality to carry it off.

It's familiar ground for Joel McCrea, but western fans will like the story and the gorgeous technicolor photography that captures it.

THE OUTRIDERS is a good workmanlike Western. There are no real surprises in the story, but there are some very strong performances. Joel McCrea gives his usual conviction to the hero role, with Barry Sullivan nicely devious as his comrade/rival. Arlene Dahl looks great, but tends to pout a bit much, James Whitmore lends sturdy support in the type of role normally played by Walter Brennan, Claude Jarman Jr. plays another of his doomed youths, and Jeff Corey is quite extraordinary as the villain (with almost expressionist make-up, and did he intend to imitate Kirk Douglas?).

But the movie is stolen by silent screen legend Ramon Novarro in one of his more substantial later roles. He essays his character perfectly, giving it much more depth than was in the screenplay. He also lends the part style, grace, dignity and humor (that "Pagan" sparkle never left his eye, despite his rather sad life).

In short, definitely worth seeing for the performances, and the gorgeous technicolor. What a shame the script and direction don't match them.

Turner Classic Movies rebroadcast "The Outriders" on May 21, 2005, with some improvements. TCM added closed captions and also seems to have transferred the film to a high definition master, so that the Technicolor looks very smooth. The lack of film grain has a down side during some scenes when print damage is apparent, such as the scratches on the film negative that show up in a few scenes, scratches that are more jarring due to how good most of the print looks. This Western stands head and shoulders over most Westerns released in the past 20 years. Just look at the supporting actors: James Whitmore, Barry Sullivan, Ramon Novarro and, of course, Jeff Corey as the very reasonable, psychopathic Southern raider Keeley. In 1950, MGM still had the production staff and budgets to make its movies look great. The matte effects by Arnold Gillespie at the start, showing old Santa Fe, are as well done as any today. During action scenes, MGM did not skimp on stunt extras. There is one scene near the start, as Joel McCrea and the three other riders with him are riding on top of a ridge, the sun setting behind them. Even if the director lifted the look of the scene from a similar scene in the black and white Winchester '73, this Technicolor scene, only a few seconds long, must have been tough to get right. That attention to quality is consistent throughout this movie. "The Outriders" is an example of what the old Hollywood studios did best: turning out technically well made, interesting movies by the dozens each year. In my minority view, newer popular Westerns such as "Silverado" and "The Unforgiven" don't hold a candle to "The Outriders."

This film has an excellent premise, a solid cast, beautiful scenery, and a fine (if brief) score. Yet the final product is only OK. I put the blame on directing and writing that isn't very compelling or incisive.

The same can be said of other MGM films from the late 1940's and early 1950's that I've seen. RKO, 20th Century-Fox, or Paramount would have made this film in a more exciting and engaging manner. For some reason, MGM films from around this time tended to pull their punches.

The Outriders is directed by Roy Rowland and written by Irving Ravetch. It stars Joel McCrea, Arlene Dahl, Barry Sullivan, James Whitmore, Ramon Novarro, Jeff Corey and Claude Jarman. Music is by Andre Previn and cinematography by Charles Schoenbaum.

Plot sees McCrea as Will Owen, the alpha male of three Confederate prisoners who escape from Camp Benton Stockade and promptly get recruited by one of William Quantrill's Bushwhacker units. Assigned to infiltrate a Don Chaves (Novarro) run wagon train that's carrying a fortune in gold, the men must deal with Indians, each other, and the hazards that the journey throws up.

Out of MGM with some production value of note, The Outsiders rises above simplicity of story to unfurl a darn fine Oater. Narratively it has strengths, where Owen's moral conscience forms a spiky backdrop to plotting. Be it his views on the unsavoury tactics employed by Keeley's (Corey) Bushwhackers, and his place as the undercover leader leading the wagon train to doom, or the positioning of his feelings - and others around him - towards the female of the group (Dahl) and that of her teenage brother-in-law. Owen is definitely in emotional turmoil.

From an action stand point the pic doesn't short change, with Indian attacks, internal fisticuffs and a rousing chase followed by the big siege finale, all of which are delivered admirably and scored robustly by Previn. The stand-out, though, is a high energy section of film that sees the group trying to get over a river at high tide flood level and is running a current of death! These scenes are expertly constructed and are of the breath holding standard. Yet the greatest part of the piece finds the group indulging in a square dance evening, where the men are blowing away the cob-webs with hooch, while the delectable Dahl holds court right in the middle. The sexual tension is palpable, the atmosphere electric, and as it happens, it forms a key part of proceedings.

Tech credits are high as well, led by the the excellent capturing of the Utah locations by Schoenbaum, this is most pleasing on the eyes. Technicolor is perfect for such an airy Oater, the primary colours positively booming on the screen (check out the water and fire shots), while Dahl was made for such colour lenses. The aforementioned square dance sequences showcase her sexual beauty, with flaming red hair and glorious emerald green shoes acting as glorious crowns to a most appetising filling.

Yes the story is soft, and anyone jaded by the formula of many 1950s Westerns should probably avoid this one - with most almost certainly knowing how it's going to pan out anyway. But there's so much to like here for me to suggest it's an undervalued pic and worth seeking out. Especially for McCrea and Dahl fans. 7/10

Joel McCrea and two colleagues (James Whitmore, Barry Sullivan) are Confederate prisoners who escape from a Union POW camp and hook up with a faction of the notorious Quantrill's Raiders in Missouri and join a plot to ambush a Union wagon train hauling gold from New Mexico to St. Louis.

This is one of McCrea's lesser efforts, although MGM put a lot of money and glitz into it. Barry Sullivan is wildly miscast as a roguish New Orleans playboy, Arlene Dahl has nothing to do but stand around, look gorgeous--which she does extremely well--and let Sullivan and McCrea fight over her. Ted DeCorsia, one of the great movie heavies, was occasionally cast in westerns, but never really fit in--he was the personification of a bad-ass New York tough guy and he just couldn't escape that--and here he plays one of Quantrill's gang who accompanies the trio to New Mexico to keep an eye on them while they worm their way into the wagon train. For some unfathomable reason, he simply vanishes about halfway through the picture--he's sent back to notify the raiders that the wagon train is on the way and he's never seen again. Also, much is made early in the picture about Whitmore's back injury and he's even shown falling off his horse because of the pain, but then he makes a sudden and apparently miraculous recovery, because nothing more is said of it and he spends the rest of the picture running around, dancing and fighting. These holes in the script aren't really major flaws, but indicative of how sloppy this picture can get.

The direction by MGM vet Roy Rowland is sluggish--westerns weren't really his specialty--and the script is pretty predictable. Whitmore gives it his best, as he always does, but McCrea doesn't seem to have his heart in it and pretty much sleepwalks through the picture, though he does come alive in a few scenes. Sullivan could play a slick, fast- talking, double-crossing con artist with the best of them, but he just looks out of place here.

It's a fair-to-almost-middling western, and if you're a McCrea fan I guess you'll like it a lot more than I did, but it's really nothing to write home about.

Joel McCrea in an atypically wooden performance as a Confederate soldier who, along with two friends, escapes from a Union prison camp in the last year of the Civil War, wrangled by a Rebel troop into taking bushwhacking job robbing a Yankee wagon train of its gold bullion. There's a neat scene midway through where the men attempt to have a square dance without any women; and when lone female Arlene Dahl finally joins in, McCrea has a wonderful moment where he changes her shoes. Otherwise, Barry Sullivan is about the sorriest cowboy in '50s westerns, and a nearly-unrecognizable James Whitmore is wasted as a grizzled soldier. McCrea and Sullivan fight over Dahl, predictably, without ever asking her whom she prefers, while the other relationships in this caravan are practically non-existent. Good supporting cast, including an almost-grown up Claude Jarman, Jr., and nice Technicolor photography, but alas, this yarn is strictly rote. ** from ****

The Outriders fulfills its genre with minimal expense but maximal outcome. Only a few brief frames appear spectacular, and many of the pleasures are among the overlooked qualities of the mid-20c Western: laconic dialog, complex plotting, psychological challenges, friendships and honor tested. The budget and production values are always restrained, but the strength of the studio system shows in excellent lighting and color plus a number of realistic outdoor scenes blending finely with studio effects. Other reviewers noted the convincing mattes of Santa Fe, but I felt almost intoxicated by the deep blue sky-backdrop to the camping scene that turns from a comic riot to a dance of love.

The other virtue of the studio system is the stable of professional actors who perform their roles not to steal scenes but in service of the plot. Joel McCrea may excel even Randolph Scott in saying the most with the least words while never ever lying--the Western-hero actors of their generation internalized completely the cowboy as a latter-day knight, and the alchemy of script and star is fascinating. Arlene Dahl may be even more economical with her speech than McCrea. In the central dance scene she speaks not a word until a critical moment, then agrees to dance with McCrea only if he bows to put fresh shoes on her feet. The scene is all about sex, but the actors, the script, the direction, and the genre completely control the sexuality's expression.

In the supporting ranks James Whitmore, not yet 30, is convincing as an old-coot warrior-sidekick with kidney trouble, while Ramon Navarro--a former sex symbol entering his 50s--plays a Mexican padrone who's still got chops. Barry Sullivan and Jeff Corey remain menacing even when they're acting cooperative. Claude Jarman, Jr. is always worth watching but the director or editor seemed to forget he was in the movie.

I couldn't stop watching, but the less-enthusiastic reviewers have a point. The film fulfills its genre so professionally that it never falls below a certain level. But those same qualities make its most beautiful moments somewhat understated, like something even better might once have been imagined but for now they need to finish a movie.

During the last year of the US Civil War, confederate prisoners Joel McCrea (as Will Owen), Barry Sullivan (as Jesse Wallace), and James Whitmore (as Clint Priest) escape from a Union prison camp. They hook up with a band of cutthroats led by Jeff Corey (as Keeley) and join a plot to steal gold from wagon master Ramon Novarro (as Antonio Chaves), which would help the Confederacy. Among those on Mr. Novarro's wagon train are an arousing blonde widow Arlene Dahl (as Jen Gort) and her young brother-in-law Claude Jarman Jr. (as Roy Gort)...

Written by Irving Ravetch, there are some unusual touches here, beginning the opening "overkill" of the young Union officer. The tension between characters promises more conflict than actually occurs, and an undeveloped character's fate is a wash-out. Still slumbering along without ever catching fire, "The Outriders" is a colorful, well-cast but routine western. Perhaps, fewer characters would have been preferable, beginning with the escape of two instead of three prisoners. Former "silent" star Novarro gives an note-worthy supporting performance.

****** The Outriders (3/1/50) Roy Rowland ~ Joel McCrea, Arlene Dahl, Ramon Novarro, Barry Sullivan

Has there ever been a good, let alone great, Civil War western? Can't think of one offhand. The best efforts, like "Major Dundee" or "Run Of The Arrow", are interesting failures while the vast majority, like this one, are plodding mediocrities. Why is this? Don't know exactly although I'd wager a guess that the vast dissimilarity between the two worlds has something to do with it. Like trying to make a noir musical or a sci fi chick flic. The Old West, if it ever existed in anything but a geographical sense, was by 1900 deader than Kelsey's nuts while the Civil War, as any citizen of Charlottesville can tell you, is still very much with us. And when you mix legend with reality it's going to be an unsatisfying blend that just won't cohere.

Confederate prison escapees plan to hi-jack a Union gold shipment and divert it to the South. Priorities, however, are complicated by a key rivalry over a girl and a temptation to just keep the riches for themselves.

Better than average Technicolor western. For once, MGM's tendency to over-produce its horse operas gives way to a wise use of money for a western. Happily, glamour and glitz are kept in check, except for actress Dahl. Still, her wardrobe for a wagon train is not too outlandish. Instead, the production makes excellent use of its scenic Kanab, Utah, locations, along with a fine A-list cast and enough extras to make the battle scenes interesting.

What grabbed me, however, are two storyline surprises that defy expectations. Plus, for once, battles don't just unfold willy-nilly, instead Owen (McCrea) thinks along tactical lines to gain an advantage. Sure, a hi-jacked gold shipment and a rivalry between sometime buddies (McCrea & Sullivan) are familiar plot devices. Nonetheless, it's a better-than-average script, with several good touches (e.g. Sullivan's loaded gun at the end).

That river-crossing scene is clearly the movie's centerpiece and is impressively done. The torrent is big and bad enough to make the fording a genuine nail-biter. I'm guessing those were not easy scenes to film.

Anyway, it's a fine McCrea western even though he gets less focal time than usual.

The Civil War is close to the end. Rebel soldiers Will Owen (Joel McCrea), Jess Wallace, and Clint Priest escape from the Union prison in Benton, Missouri. They encounter a group of rebels led by Keeley who uses brutal tactics against soldiers and civilians alike. They need to capture an Union gold delivery from Mexico and the three escapees are the only ones who could guide them to Santa Fe. The men infiltrate the wagon train as outriders where they have to stay 200 yards away. The Apaches attack. Many dangers are encountered.

The start is great. The premise is interesting. The rest is not as compelling. A simple heist movie would be vastly better. This gets a bit too complicated with a romantic twist. Otherwise, it's a fine western. There is a dangerous river crossing. There is plenty of good western work. Joel McCrea is a solid star. I like it enough.

Near as I can tell the only point to this movie is enjoying the Technicolor photography of what I assume is Sedona. Otherwise, it's just a B Western draped over some Civil War mumbo jumbo.

For all the jabbering about North v South, where's the action? Even the Indian attack on the wagon train in the First Act involves 5 stationery wagons being set upon by what looks to be, at most, a half-dozen extras in face paint.

So maybe it's really supposed to be a love story. Here's the problem. One guy is played to the lecherous, smarmy max by Barry Sullivan. The other guy is Joel McCrea. Unless Arlene Dahl had been kicked in the head by a horse, the choice is obvious.

Ultimately, what we learn is that no matter how much the North and South hate each other, we can all agree that white Americans must prevail against the evil Indian hordes. That's satire, by the way. It would be another several decades before Kevin Costner gave Native Americans some screen dignity in Dances With Wolves.

We all project ourselves into the books we read and films we see, so the more closer to our lives the entertainment vehicle is, the greater the experience and enjoyment. So I suppose this film would have just been another oater for me but for that one small detail.

The Outriders was a typical late '40s western movie, so the only reason I decided to watch it was that I like Joel McRea. Otherwise I might have passed on this 55 year old sage brush saga. But once it started, the female lead, Arlene Dahl, caught my eye.

Ms. Dahl could have been just another late 1940s blonde, blue eyed movie star in another late 1940s oater except for two things. first, she looked uncannily like my high school sweetheart (I know, everyone has an old high school sweetheart-go watch American Graffiti) but she really did look like her. And secondly, she spoke softly and moved, glided across the stage, just like *** did.

Then the story line somewhat mirrored the relationship we had. A tough and dangerous outlaw meets a sweet, honest and stunning beauty. I let myself slip into the fantasy of this movie figuring it would be a nice bit of nostalgic escapism. but then came the dance scene during the wagon train's stop on its overland journey.

Head honcho Will Owens (McRea) tells Jen Gort (Ms. Dahl) to stay in the wagon to avoid getting the trail hands stirred up, but when the men break out fiddles and guitars and start singing around the camp fire, she comes out, dressed to the nines with her dancing shoes. Jen glides effortlessly across the camera's view and dances with all the men, politely and dignified, yet strikingly alluring and all woman.

But what touched me was when she told Will Owens "you wanted me the most". No modern day tawdriness; nor erotic film scene with naked, sweating bodies could convey the message any clearer than her voice, her eyes and those words. It took me back.

This film may just be another fast paced western to most, but to me it is **** and me. I miss her.

Joel McCrea was no more the romantic lead of "Colorado's territory" which was made the year before.At the beginning of the movie he is a bearded man and seems much older than the year before ."The outriders" is a routine western,but an entertaining one,with at least two very good scenes:Arlene Dahl's young brother-in-law ,on guard,afraid of everything,and seeing Indians everywhere ,this very short sequence packs a real wallop; and the scene of the river which almost compares favorably with that of Vidor's "northwest passage".Although the plot is much predictable -with gorgeous Dahl,it could not be any other way-,the plot retains suspense and the colors are fine.

Nothing really special about this western speaking of Civil war, there were so many of them, rebels, Quantrill...So many from the late forties to the late fifties, not so many though, in the sixties and later. It is pretty well done, good acting, not that action packed but this is not a problem in this efficient movie, made by a very good director for whom western was not his main interest. I advise it for western buffs. Predictable characters symphony but, I repeat, very efficient.