This was the first of three western films that Dale Robertson made with editor-turned-director Harmon Jones. The first two pictures were produced at Robertson's home studio 20th Century Fox. When Robertson moved over to Universal a few years later, Jones went with him. Ten years later, Jones would also direct an episode of Robertson's western TV series, Iron Horse.
When a star feels comfortable with a director, he delivers a confident performance. Robertson was comfortable with the western format and would become associated with this particular genre.
Leading lady Jeanne Crain is a bit less at ease as a western star, though she does her best. This was the last assignment Miss Crain had under her original contract at Fox. Her popularity had waned and her two most recent films at the studio were not hits. After ten years, she was let go in a cost-cutting measure. She would freelance, signing a multi-picture deal at Universal where she went on to make a few more westerns.
Jeanne Crain did not headline her own weekly television series like so many stars did in those days when movie offers dried up. By the mid-60s her screen appearances were infrequent. She did a disaster flick in the early 70s before calling it quits.
The story for CITY OF BAD MEN focuses more on Robertson than it does on Crain. As the title suggests, it's about a growing community-- Carson City-- that attracts a group of rough characters. The roguish bad men are all crooks with designs on a $100,000 payout. This does not involve robbing a stagecoach or robbing a bank. Instead, a big match is scheduled between real-life boxers Jim Corbett and Bob Fitzsimmons. With tickets set at $15 per person (a huge sum for 1897), it's an event that draws wealthy spectators from miles around.
Robertson and his brother (Lloyd Bridges) breeze into Carson City to get their hands on all that dough. They're up from Mexico, and we learn Robertson had lived in the area six years ago and at that time was romantically involved with Crain. She's moved on with another guy, a well-to-do businessman, because her heart was broke after Robertson left and didn't come back. Obviously, they have unfinished business and are still in love with each other.
In addition to these issues, there is the matter of a rival gang. More bad men, led by Richard Boone who never plays respectable law-abiding citizens in these types of motion pictures. Somehow, the sheriff convinces Robertson and Boone to work for him as deputies, to keep their men in line so the match will go off without a hitch. Of course, the plot is a bit contrived but it's interesting to see the so-called bad men work for the law, while still coveting the money that is spent on the big fight.
We know Robertson will go straight, so he can end up with Crain before the final fadeout. And that Boone won't go straight, and will end up dead. But these predictable elements don't detract from one's enjoyment of the film as a whole. There are some taut action sequences. The boxing scenes are fairly engaging. And the romance drama portion of the story pulls us in, since Crain and Robertson do share a palpable chemistry.
When a star feels comfortable with a director, he delivers a confident performance. Robertson was comfortable with the western format and would become associated with this particular genre.
Leading lady Jeanne Crain is a bit less at ease as a western star, though she does her best. This was the last assignment Miss Crain had under her original contract at Fox. Her popularity had waned and her two most recent films at the studio were not hits. After ten years, she was let go in a cost-cutting measure. She would freelance, signing a multi-picture deal at Universal where she went on to make a few more westerns.
Jeanne Crain did not headline her own weekly television series like so many stars did in those days when movie offers dried up. By the mid-60s her screen appearances were infrequent. She did a disaster flick in the early 70s before calling it quits.
The story for CITY OF BAD MEN focuses more on Robertson than it does on Crain. As the title suggests, it's about a growing community-- Carson City-- that attracts a group of rough characters. The roguish bad men are all crooks with designs on a $100,000 payout. This does not involve robbing a stagecoach or robbing a bank. Instead, a big match is scheduled between real-life boxers Jim Corbett and Bob Fitzsimmons. With tickets set at $15 per person (a huge sum for 1897), it's an event that draws wealthy spectators from miles around.
Robertson and his brother (Lloyd Bridges) breeze into Carson City to get their hands on all that dough. They're up from Mexico, and we learn Robertson had lived in the area six years ago and at that time was romantically involved with Crain. She's moved on with another guy, a well-to-do businessman, because her heart was broke after Robertson left and didn't come back. Obviously, they have unfinished business and are still in love with each other.
In addition to these issues, there is the matter of a rival gang. More bad men, led by Richard Boone who never plays respectable law-abiding citizens in these types of motion pictures. Somehow, the sheriff convinces Robertson and Boone to work for him as deputies, to keep their men in line so the match will go off without a hitch. Of course, the plot is a bit contrived but it's interesting to see the so-called bad men work for the law, while still coveting the money that is spent on the big fight.
We know Robertson will go straight, so he can end up with Crain before the final fadeout. And that Boone won't go straight, and will end up dead. But these predictable elements don't detract from one's enjoyment of the film as a whole. There are some taut action sequences. The boxing scenes are fairly engaging. And the romance drama portion of the story pulls us in, since Crain and Robertson do share a palpable chemistry.