Tall in the Saddle (1944)

Undescribable Perfection

The Worst Film Ever

Pretty Good

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Producer: Robert Fellows. Copyright 6 October 1944 by RKO Radio Pictures, Inc. New York opening at the Palace: 14 December 1944. U.S. release: 29 September 1944. U.K. release: 7 May 1945. Australian release: 12 April 1945. 8,000 feet. 89 minutes.NOTES: Wayne's fist association with producer Robert Fellows with whom he was later to form Wayne-Fellows Productions. Wayne liked the script of this one (co-written by actor Paul Fix) so much he tried to persuade John Ford to direct. Although Ford declined, some members of the Ford stock company, notably Ward Bond and Russell Simpson, were signed on for the cast.COMMENT: One of Wayne's best westerns, with plenty of vigorously staged action, an intriguing plot, lots of interesting characters, loads of atmosphere, and an agreeably honed characterization for the Duke himself. It's tempting to say what a pity Ford knocked back this assignment, but Marin has actually done quite a super job. Of course he was helped no end by experts like Theron Warth (a graduate of RKO's film editing department, making his debut here as associate producer) and cinematographer Robert de Grasse.It's good to see Wayne re-united with some of the players from his early 30s career, most notably ultra-smooth villain Ward Bond, rough-house heavy Harry Woods, cowardly off-sider Paul Fix, helpful barkeep Cy Kendall and most particularly George Hayes, a real audience-pleaser here in a made-to-order role as a cantankerous, woman-hating stagedriver. (Wayne is also introduced as something of a cynical misogynist. "I never feel sorry for anything that happens to a woman," he answers an early leading question from Hayes, to that driver's surprise and evident delight. But his attitude noticeably softens later on in the presence of both ultra-feminine heroine Audrey Long and more masculine Ella Raines).Elisabeth Risdon's remarkably forceful performance as Miss Martin deserves special praise. We also liked Emory Parnell's blustering sheriff and Walter Baldwin's slovenly coach-stop man. In fact, all the characters are most skilfully played. Although Wayne rightly dominates the action, at more than one stage there are so many interesting characters jostling around in the background, they threaten to spill off the screen.Production values are A-1. In short, a first-class western.OTHER VIEWS: Exciting, fast-paced western, with a brilliant opening sequence, a delightfully aggressive heroine, fine photography, and a script that is as rich in characterization as in action and originality. Wayne has one of his best roles as the charmingly gutsy if somewhat cynical hero.

Out of nowhere comes a stranger. Silent, mysterious... You hear about the clichés, but certain clichés are more talked about than seen. How many times we want The Duke to just kick some butt, only to see someone like James Stewart or Montgomery Clift knock him down. Even in Stagecoach he lets himself captured. Enough of the dark side, where's our hero? He's in this one, Tall In The Saddle. I'm so happy I found this film. John Wayne in his most heroic form! With iron fists and swagger that charms the hottest ladies. Ella Raines, hubba hubba! The story is fast moving and wild, with all the characteristics of a fine mystery.The positive reviews are right on the money. The trailer doesn't show all the best action, just gives you a taste. This forgotten gem needs to be preserved among the finest examples of the art form known as Traditional Western, polished and put on Blu-Ray. Holla if you hear me!

This is just simply a cracking movie with a great plot, a real western's western. there is something simple, uncontrived, and intrinsically right about Tall in the Saddle that most other western's try to capture. There are no Indians, no gold rush, no gunfighters, instead we get a simple plot about a man who discovers corruption and wants to do something about it.The film is beautifully shot, the B & W cinematography accents both the poverty at the stagecoach stop at the beginning and the light in the hills later on are outstanding.But for me what makes this really special is the outstanding romance, Haines is at her most stunning and simply drop-dead gorgeous here, and even 75 years on, she and the Duke light up the screen magnificently.All in all, a great movie: if Western's are about being strong while still caring, being independent, and about bravery then this is all it should be. Shame it's seen so seldom and so little known compared to Wayne's bigger films - definitely recommended.

This one got shown on late-night Italian TV unheralded, after a proposed screening of Allan Dwan’s THE RIVER’S EDGE (1957) got barred by Fox! I’ve watched a few of John Wayne’s vehicles made between STAGECOACH (1939) and FORT APACHE (1948): while he was officially a star during this period, he wasn’t yet the screen legend everyone remembers and loves – consequently, most of the films he made in the interim tend to be overlooked. This is one of them and, I have to say, quite an underrated effort it is too! Made at RKO, it features their customary shadowy lighting – and, while essentially modest in approach, the narrative is absolutely brimming with action, twists, romance (Wayne gets to choose between two gals) and even comedy (provided by The Duke’s frequent sidekick from his early years, George “Gabby” Hayes). Wayne is obviously in his element and, typically, his character has to go through a lot to fight for his rights (while he’s introduced as a ranch-hand, it transpires that he’s actually the heir to the property!), his own well-being (he’s not only provoked into several brawls or made the target of assassination, but is even framed for murder!) and, of course, true love (one girl is assertive and tempestuous, the other genteel and naive).Ella Raines, best-known for her noir roles, looks great in cowboy gear as the former; when it seems she may lose Wayne to the latter – played by Audrey Long – it’s revealed that Wayne and Long’s characters are blood-related, thus conveniently solving the star’s emotional dilemma! The supporting cast includes Ward Bond (as the judge who tries to deceive both Wayne and Long out of their inheritance, he eventually engages in a violent fist-fight with Wayne which virtually turns his office into a shambles), Elizabeth Risdon (an insufferable and scheming old lady who’s domineering of charge Long and contemptuous of both Wayne and Hayes), Russell Wade (the young second lead of THE BODY SNATCHER [1945] appearing as Raines’ gambler brother), Paul Fix (like Bond, a long-time buddy of Wayne’s who here plays the part of an antagonist) and Frank Puglia (as Raines’ devoted Indian protector which causes an ambivalence towards Wayne).Characterizations are well above-par for an ‘oater’; the end result is highly watchable and entertaining – if, ultimately, a notch below The Duke’s standards of a few years later. The film was nevertheless released on DVD by Warners as part of a 5-Disc John Wayne collection (of which I already own BLOOD ALLEY [1955], one I’ve yet to watch myself, and THE SEA CHASE [1955]) – and I wouldn’t mind adding it to my collection if the opportunity presented itself…