X
- 1969
- M
- Universal Pictures
- 1 h 34 m
- 1969
- M
- Universal Pictures
- 1 h 34 m
Summary A Texas town's council fires the town's old-fashioned marshal who refuses to resign, thus leading to violence from both sides.
Directed By: Don Siegel, Robert Totten, Alan Smithee
Written By: Joseph Calvelli, Lewis B. Patten
- 1969
- M
- Universal Pictures
- 1 h 34 m
- 1969
- M
- Universal Pictures
- 1 h 34 m
Death of a Gunfighter
69
User Score
Available after 4 ratings
tbd
Summary A Texas town's council fires the town's old-fashioned marshal who refuses to resign, thus leading to violence from both sides.
Directed By: Don Siegel, Robert Totten, Alan Smithee
Written By: Joseph Calvelli, Lewis B. Patten
Top Cast
Metascore
Generally Favorable
Based on 7 Critic Reviews
69
43% Positive
3 Reviews
3 Reviews
57% Mixed
4 Reviews
4 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Generally Favorable
Based on 7 Critic Reviews
69
43% Positive
3 Reviews
3 Reviews
57% Mixed
4 Reviews
4 Reviews
0% Negative
0 Reviews
0 Reviews
Death of a Gunfighter is quite an extraordinary western. It's one of those rare attempts (the last was Will Penny) to populate the West with real people living in real historical time.
Surprisingly solid Western that bears the distinction being the first film ever credited to "Allen Smithee," a long-time pseudonym used by directors who wish to distance themselves from a project.
Sharp small-scale western set in a nasty frontier community that finds its incorruptible old-style sheriff (Richard Widmark) a barrier to its joining the 20th century. Widmark is excellent, as is Lena Horne as the handsome saloon-keeper he marries. [17 Apr 2011, p.52]
A fringe Siegel Western (he spent two weeks finishing it off). The theme of a law and order marshal who has tamed a frontier town, only to become an embarrassment to the 'civilised' community, is sufficiently interesting for one to wonder what it would have been like if Siegel had done the whole thing.
The general tone, and point — festering hatred — is simply not enough to make the picture matter, although Mr. Widmark almost single-handedly does. Tough, laconic, squinty-eyed and moving around deceptively like a tired, middle-aged panther, he gives this characterization a scorching vibrancy.
Siegel develops some interesting themes that he would later explore in John Wayne's outstanding final film, The Shootist.
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