Western offerings for 1958 (quite a normal quantity for those days!) were a
mixed bag. There was a great one, The Bravados (four revolvers)and there were a couple of good ones, The Sheriff of Fractured Jaw, From Hell to Texas and The Fiend Who Walked the West (all 3), and a few OK-to-middling pictures such as Ambush at Cimarron Pass (2), Villa!! (to be reviewed soon), Cattle Empire (2), Blood Arrow and Flaming
Frontier (to be reviewed one day) as well as, of course, a couple of duds, Showdown at Boot Hill (Charles Bronson’s first Western lead) and Wolf Dog (a semi-Western with Jim Davis). Sierra Baron
was in the OK-to-middling class.
It was a Brian Keith picture,
and we’re going on a bit of Brian Keith outing for the next few posts, so brace
yourselves. These introductory words will do also for the next couple of articles,
A keen Western buff,
Keith (1921 to 1997) did a lot of oaters, big screen and small, notably of course
as The Westerner on TV in 1960,
though for a single series of 13 episodes. “Only four
or five of these were really good,” he said. “But those four or five were as
good as anything anybody has ever done.” (I think he meant the Sam Peckinpah
ones). Keith rarely even watched his own pictures when they were finished
(like Robert Mitchum) and he said, “I never gave a hoot, I just took what
came along” (very similar to Mitchum’s famous dictum, “Baby, I don’t care”) and
in some of his Westerns, that was rather evident.
He started very well, as the
best thing in Paramount’s Arrowhead
in 1953. Admittedly it wasn’t hard to be the best thing in that movie because
it was a nasty, noxious film with a sour Charlton Heston in the lead. Still,
Keith was memorable as the experienced Army captain. He was also impressive in The Violent Men two years later as
Stanwyck’s slimy two-timing lover. Run of
the Arrow, well, that was a pity (what a trashy picture), but I liked him
as the gun-runner in Fort Dobbs, also in ’58 though for Warners,
three months before Sierra Baron. He
would go on to do Villa!!, our next-but-one review, and would be directed by Peckinpah again in The Deadly Companions, a film let down
by a hopeless Maureen O’Hara, and that was followed by the disappointing The Raiders and a whole lot of Western
TV shows and TV movies. The Hallelujah Trail and The Rare Breed were
absolutely awful. It wasn’t really
the greatest Western career but you get the sense that he could have been
really good in the genre. If he’d bothered.
Baron was one of those 1840s California yarns,
though much of it was a pretty formulaic crooked-banker-has-treed-the-town plot
which could have been set anywhere and at any time in ‘the West’. Keith plays
hired gun Jack McCracken, in the pay of the banker, who changes sides to fight
for the good guys.
It was directed by James B Clark (below), who was not
the brightest star in the Western firmament. This was his first feature oater
in the director’s chair. He would return to Keith with Villa!! in October the same year, and in 1960 would do the
flawed One Foot in Hell with an aging
Alan Ladd. Mostly though it was TV shows, especially The Monroes. The direction of Sierra
Baron is pedestrian.
huge ranch in California, part of a 1761 Spanish land grant, but gold is discovered
on the land, rancher Delmonte is murdered and American prospectors flood in,
followed by a motley band of hangers-on, inc. crooks. The good news: the chief crook,
banker Rufus Bynum, who obviously ordered the death of the rancher, is played
by Steve Brodie. One of the better bad-guys, Brodie did more Westerns than any
other genre, from Badman’s Territory
in 1946 right through to an episode of the TV How the West Was Won in 1979, almost invariably as villain. I
remember him especially in Gun Duel in Durango. In Sierra Baron he has a
great line in natty vests, all the colors of the rainbow. Sadly, though, he had
no derringer, which I felt he needed. Derringers were pretty well standard equipment for crooked bankers. Naturally, he has the tame local judge (Pedro
Galván) and sheriff (Reed Howes) in his pay.
Loyal Delmonte factotum Felipe (José Angel
Espinosa, aka Ferrusquilla, whom you may remember from Two Mules for Sister Sara) goes down to Mexico to bring back the
heir to the throne, young Miguel (New Yorker Rick Jason, doing his best to be
Spanish, in his only ever feature Western) and of course Miguel will bravely
resist the crooked bully Bynum.
Miguel starts with an interesting combat, fighting
Bynum henchman Goheen (Lee Morgan), who has brass knuckles, by taking off a
Spanish spur and slashing Goheen’s face with it. Naturally, though Miguel won’t
be able to beat Bynum alone. He will be aided by Bynum’s erstwhile employee
McCracken. This was a standard ploy: Mexicans were quite incapable of winning
without US advice, help and direction (see every American Western set in Mexico).
Miguel has a glam sis, natch (Rita Gam, no
more Spanish than her ‘brother’, and equally unWestern, though she was Scott
Brady’s love interest in Fox’s Mohawk two years before) and
of course now that McCracken has changed sides he falls for her, and, let it be
said, vice versa.
Another strand of the plot now enters the
story as Miguel rescues a deranged American wagon-trainer, Mrs. Russell, from
the desert and saves her life. They too will fall in love, to complement the
Keith/Gam romance. Sue Russell is played by Mala Powers, who had graduated from
radio Westerns like Red Ryder and The Cisco Kid to big-screen B-Westerns
and TV shows. Most notably she was Rose of Cimarron in 1952, and you may also
remember her in The Yellow Mountain
with Lex Barker and Rage at Dawn with
The California senate unexpectedly recognizes
the Spanish land grants, which undermines crooked Bynum’s stance. He raises a
mob with flaming torches to go burn the Delmonte hacienda but the brave
wagon-trainers, urged by Sue Russell, gallop to the aid of the Delmontes and a climactic
showdown gun-battle ensues. You may guess the outcome, as it is rather predictable,
like most of the movie, though you may not guess the fate of Brian Keith.
The picture was shot in CinemaScope and
Technicolor in nice Mexico locations, so Fox didn’t do it entirely on the cheap.
The DP was Alex Phillips, the Canadian-born Mexican cinematographer who shot
quite a few Westerns in Mexico, both Mexican ones and American ones like The Last of the Fast Guns, the 1962 Geronimo, and The Glory Guys.
It’s not bad. It just scraped up to three revolvers for Brian Keith, who, even on auto-pilot, was quite good.
The costumes are interesting.