Gunman's Walk (1958) Online

Van Heflin played second lead in a score of pictures over 3 decades. In this excellent western he gets to play the lead, and his performance is one of the greatest of his long career. He displays a completely believable fatherly range of emotion and makes the audience identify with his 'how the west was won' mentality. Phil Karlson's deft direction keeps the pacing of this picture very crisp and poignant. The settings and western scenes are also quite excellent. All of this has been said without mentioning Tab Hunter's taught performance, which is really the defining touch that makes this movie great. Surprisingly, Hunter was a teen idol especially developed by the movie studio to be just another screen image. He defied the studios by delivering this amazing performance as a wild and reckless young man growing up in the shadow of his father's hard nosed old western legacy, determined to leave his own stamp on the developing times in the west. Gunman's Walk may be the most underrated western in screen history. It almost feels like a real metaphor for the western motif, and the changing civilization that beckons just over the horizon.

Director Phil Karlson is known more for his tough, gritty, violent crime dramas ("99 River Street," "The Phenix City Story," among others) than horse operas, but this tight little western is reminiscent of the best of Karlson's urban thrillers. Tab Hunter is excellent as the spoiled, egomaniacal, homicidal son of a wealthy rancher, who believes that his family's riches and position are pretty much a blank check that enables him to do whatever he wants to whoever he wants, including murder, because he knows that his father's influence will get him out of trouble. Hunter's tightly wound, controlled performance is a real eye-opener for those who always thought of him as just another pretty boy teen idol who couldn't act (i.e., Ricky Nelson, Fabian, etc.). This is by far Hunter's best work. You can see his internal spring winding tighter and tighter as he pushes the envelope further and further until it's just a matter of time before he explodes. Van Heflin is solid as his father, who's too busy building and maintaining an empire and can't, or won't, see the evil that manifests itself in his son, and veteran character actor Robert F. Simon is very good as the town sheriff and Heflin's friend, who realizes that he's given Hunter one too many breaks and is torn between his obligations to his friend and his duty as a lawman. Mickey Shaughnessy, who often played oafish drunks, dimwitted gangsters or other types of comic relief, strikes just the right note as a sympathetic deputy who doesn't think that Hunter is really as bad as his reputation. Karlson directs with his usual energy, marked by his trademark quick, explosive bursts of action. An intriguing film, despite its potboiler title, and worth a look for Hunter's fine performance and Karlson's vigorous direction.

I give this movie a 9 out of 10 for its earnest (yet not overdone) acting, sympathetic (yet not sappy) treatment of Indians, and exuberant (yet not overwhelming) energy level throughout. The relatively unknown actors and filmmakers really tried hard here. Aside from the family conflict, there is an intriguing treatment of the theme of historical change and how the Old West relates to the New - also seen in movies such as Bus Stop, The Misfits, and Lonely are the Brave.

Gunman's Walk is not perfect - things get 'explained' a bit too neatly at the Freudian conclusion, for example - but there is scarcely a dull or uninteresting moment. Don't miss the unique details in this film, such as the instant mood swings that the characters, especially the Father, go through, and the astonishing bar scene where the Big Brother cavorts with hookers and sings "I'm a Runaway."

This is a very unusual western and it comes highly recommended.

Unlike sandcrab's bitter politically-correct review below, I happen to put this one on my A list for 50s westerns.

Van Heflin plays a hard cattle rancher who wants the best for his two boys. One (Tab Hunter) is wild, spoiled and bitter about following in his father's shadow, the other (James Darren) is soft, gentle, not prone to gunplay like his older brother is. Heflin is very effective at playing the overindulgent father, blind to the realities that both boys are dealing with.

The conflict begins when Hunter and a half-breed Sioux (Bert Convy) that his father has hired, race after a prized white stallion that they've been trying to catch for some time now. Hunter runs his horse into the Indian, forcing him off a cliff into an arroyo, plunging to his death below. Two other Indians witness this and will later testify against Hunter at his trial.

At the trial, a drifting horse trader (Ray Teal) testifies in favor of Hunter for a price of 10 mustangs and the white stallion. Heflin catches on to Teal's game and agrees to it in order to protect his son, but warns Teal to get out of town and don't come back or else. In the meantime, Darren has fallen in love with the dead Indian's sister (Kathryn Grant) which also further complicates things between himself and his father.

As Hunter sees Teal riding the herd including the white stallion through town, he goes down and confronts Teal and demands the white stallion back. When he refuses, he draws on Teal and shoots him off his horse, severely wounding him. Hunter is placed in jail but once again daddy Heflin covers up for him by offering Teal a bribe he can't refuse.

But it all doesn't matter because Hunter breaks out of jail, killing the unarmed deputy (Mickey Shaughnessy) in the process, and forcing the town to form a posse to go after him. Even Heflin can't save his boy at this point, but he knows where he's headed and he gets there before the posse does, thereby provoking a showdown between father and son.

With taught direction by Phil Karlson, an excellent script and tight story by Frank Nugent & Ric Hardman along with a powerful performance by Van Heflin, this one deserves to be in any western film buff's collection. I recommend it wholeheartedly. All I hope is that it will be released on DVD, someday.

8 out of 10

An outstanding and unjustly neglected western from that fine genre director Phil Karlson who, if he never quite made it to the front ranks, could nevertheless be counted upon to produce first rate and thought-provoking entertainments of which this is one. Karlson had no problem juggling the pieces' myriad themes, (the Freudian relationship between a martinet father and his hot-headed son, miscegenation and racial prejudice, gun culture and the changing ways of the West), without ever sacrificing the solid entertainment value of what is essentially a good old-fashioned western.

As the father piling all his affection on the wrong son, Van Heflin is as reliable as ever. The real surprise of the picture, however, is Tab Hunter as the son who both hates and idolizes his father. Hunter was never much of an actor but here, cast against type as the villain of the piece, he manages to bring depth and feeling to the role. Perhaps he located the misfit nature of the character. After all, being gay in Hollywood in the fifties and living a life that was fundamentally a lie, surely can't have been easy.

"Gunman's Walk" is not only outstanding on the entertainment level, it also presents what could be clichéd material in a superbly directed and written comment on many issues. The story is an action Western first. Van Heflin, easily one of the greatest of all Western actors, plays a rugged Western hero of the old pioneer days, who participated in many wars against the Native American. Unlike the more sugar coated stories of many Westerns, he is not forgiving of his enemy, and his character is still much the same man when he enters a new era. Heflin's character is now a big man in his territory, respected and feared by all. Heflin gives this character an incredible likability, which in retrospect, makes him even scarier. It is easy to compare this man with Anthony Quinn in "Last Train to Gun Hill", another impressive performance by another great actor. Except this man is much friendlier and less menacing, yet he commands the respect for his abilities with guns, fists, and bravery. Heflin now has a big ranch and two sons. The older one, Tab Hunter, wants to be the big hero his father was, but lives in an era when the Native American is not at war with them. In fact, Ed Platt plays an Indian agent who tries to protect the native population from Hunter's outbursts, to no avail. The younger son, James Darren, is perfectly cast as the dove of the family, who abhors violence. To make matters worse, he is attracted to a beautiful Native American girl, which puts him as the one bearing the brunt of suffering in the middle from both sides. Heflin is going along with the times, but not by conventional means. he hangs on to his valor by recalling his feats in the past. Hunter constantly hears the exploits with other older men in the saloon, speaking as if they were in Floyd's Mayberry RFD barber shop. Exploits against the native Americans that aren't allowed any more, but Hunter wants to have such stories told about him some day. Heflin's character hasn't moved with the times. He simply laughs at them. He raises his sons to be fighters and the end result is that the oldest son steps way over any civilized line. The climax is not exactly hidden. We know that Heflin must confront himself, and he does this by confronting his sons. One he admires, and the other he disowns midway through the movie. By the end, he realizes his mistake. But all through the movie, characters remind us that Hunter isn't the one who caused it all. It is actually Heflin. Yet Heflin's performance is so great that instead of seeing him for the evil man he is, we pity him, and don't blame him. Much like the crafty Fred March in "Hombre", one of the evilest men in Westerns, yet able to snake oil his way through it. Heflin's attitude and character is in the oldest son, and he was responsible. In the end, Heflin admits this, and we forgive him at first, when we see him break down. However, this movie requires much thought. It gives a very frightening picture of the truth about prejudice, and about the evil that is allowed to pass on through cultures and generations, and the way it is done. It is a movie we should watch and learn from, and it is done in a very sneaky way. A must see movie.

Rancher and old school westerner Lee Hackett is determined to mould his two sons in his own tough gun-fighting image. Something that backfires when his eldest boy, Ed, becomes a murderer.

Gunman's Walk on plot synopsis and summaries sounds like your standard B Western fare, and certainly the theme of parental influence is nothing new. But Phil Karlson's film, adapted from Ric Hardman's story, has many things going for it to keep it from being mundane and used solely as a time filler. It fuses together multiple issues, parenting, prejudice and ignorance during a time of change in the old Wild West, it's central character, Lee Hackett (Van Heflin), is seen as the link between old and new.

He has primarily lived his life as a shooter and killer of Indians, something that he is not totally committed to shaking off, but here he is now, a most respected and feared member of the community, faced with his two sons both taking different paths. One, Ed (Tab Hunter), is full of bile and gun slinging machismo, represents the old West. The other, Davy (James Darren), doesn't need a gun to feel like a man, his affection for half Indian Clee Chouard (Kathryn Grant) clearly gives a point of reference to the new West. It gives us two sides of the coin with one Lee Hackett perched firmly on the fence, to which Van Heflin gives an emotionally driven standout performance.

I wouldn't say that Gunman's Walk is undervalued as such (its director most definitely is though), it's possibly more like it's been tarred with that old saying brush called "B Western", a saying that unfortunately some use as being derogatory. Whilst if the truth be told the support to Heflin is rather flat (both Hunter & Darren are average at best). But some average support acting can't stop Gunman's Walk from being an intelligent and potent genre piece. I mean if only for Heflin and the catchy central song, "I'm A Runaway", then you should see this, but as it is, if you give it your undivided attention you hopefully will find it's really rather good and clever. 7/10

The plot seemed quite fresh (even after my second viewing), though on analysis it includes familiar themes: tension between brothers, conflict between son and father leading to tragedy. A lot of this is down to the way it portrays the steady - not to say rapid - deterioration of the elder son so that he becomes a murderer; Tab Hunter deserves a lot of credit for this; at first he seems to be just a bit of a tearaway, but at the end he looks really vicious.

I like Van Heflin. He was great as the tortured Athos in "The Three Musketeers" and the decent homesteaders in "Shane" and "3.10 to Yuma", but I'm not sure that he carries off being the tough patriarch who won the country from the Indians.

Viewing the film in the political correctness of 2007, I blinked at the verbal racial abuse inflicted on the native Americans; two days later, I'm still trying to think of another 1950s Western where it was so overt. (I'm talking of verbal abuse, rather than cowboys killing lots of Indians.) The film proceeds at a pleasing rate, except for the somewhat overlong shooting-at-bottles scene very early on.

I don't know if "I'm a Runaway" was ever a "proper" song, but it was quite catching, even when sung by Hunter, and for once I didn't object to a musical interlude in an action film.

Naughty blond Tab Hunter (as Ed Hackett) and nice brother James Darren (as Davy) clash with not only each other, but also their rancher father Van Heflin (as Lee). This interesting western focuses mainly on Mr. Hunter's character. The dependable Frank Nugent adapted it from a story by new writer Ric Hardman. The thesis appears to show how the philosophy, which built the "old west", does not survive through the next generation; it must adapt, or die. Hunter is disarming at first - which turns out to be exactly the point. He and Mr. Heflin, an asset in most every film, are very good. Their performances "tell" the story.

Unfortunately, Mr. Darren hasn't much to do but stand around. His important character might have been better developed by having father Heflin reveal he sired Darren with what he refers to as a "squaw" - then decided the baby could pass as white. This would fit in nicely with the subplot involving attractive Kathryn Grant (as Clee Chouard), passing herself off here as what they are calling a "half breed". She has less to do than Darren does. "Gunman's Walk" misses some opportunities, but what's here is good. Director Phil Karlson and photographer Charles Lawton Jr. create a beautiful landscape for the characters.

****** Gunman's Walk (7/15/58) Phil Karlson ~ Tab Hunter, Van Heflin, James Darren, Kathryn Grant

The western Novel written by author Ric Hardman, is the bases for this film called " Gunman's Walk. " But the title is deceptive. It should have been called, ' The violent seed, ' . Directed by Phil Karlson, it tells the story of a brooding, malcontented young man (Tab Hunter) who was raised by his father (Van Heflin) to be rough, tough, and hard drinking. What little discipline the father offered was misplace and shoddy. Anything which could torn from the land was acceptable, if not it could always be bought, traded for, or stolen. The law, as seen by the Hacketts' is seen as a hindrance and as a last resort. The Hackett name was a powerful brand which produced fear and often as not, the father saw to it no one stood in his way. James Darren, who plays Davy Hackett, is the other son which the father disliked, is believed to be a half breed and the weaker of the two boys. The movie is fast paced but shallow and tab Hunter is seen as caring the entire weight of the film on his wild shoulders. Still, for a 1950's a western, it marks a turning point for the country and for later sagas. ****

The movie is one of my favorite 1950's westerns mainly because of the story. Give me a great story and some good acting and heck with all those special effects. The characters are very well developed and easy to relate to. The story is not necessarily a brand new one but it comes across like it is; very believable.

Tab Hunter and Van Heflin's performances are excellent. Hunter plays a spoiled brat oldest son trying to out-do his fathers accomplishments but always seems to fall short. Each time he can't exceed his dad, he gets a little more bitter until he actually start to hate him.

The movie unfortunately does slow down a bit, every time James Darren's part kicks in, not because of James Darren but because his part is the touchy-feely stuff that I get bored with but you might enjoy.

Whoever plays the sheriff does a great job convincing the audience that he's a serious law-man trying to do his job but is bending over backwards to accommodate Van Heflin's son Tab Hunter.

All the characters were exactly right for his/hers part except for Bert Convey. Convey plays the Indian brother of Kathryn Grant who Tab Hunter rides off a cliff while they are both chasing the same horse. Come on; Convey doesn't look anything like an Indian or even half Indian. Of course, that's just a minor observation that doesn't take anything from the movie.

The movie had no choice but to finally end with the show down between Tab Hunter and Van Heflin but even after that it takes a turn which you don't expect and then ends at the right time.

Van Heflin and Tab Hunter both deliver commanding performances in this quite gripping western about a hard as nails, old- time rancher father who wants both his son's to be tough and gun savvy. Trouble soon arises as the son played by Tab Hunter becomes too headstrong while the other son played by James Darren, insists he doesn't need a gun to prove his manhood. Problem is for some reason Van Heflin makes no bones about his approval for the son who is basically spoiled and ruthless. Grim reality sets in when Heflin realizes his son has become an out of control animal with no morals and basically must be put down by him. Although James Darren's role isn't quite as active as Hunters, he finely portrays the kind and gentler brother who falls in love with a half breed, played by Kathryn Grant. Even though the end of Hunters life is violent, there is a very touching scene between Heflin, Darren and Grant to close out the story. It is hard not to give a full synopsis of this powerful story, full of conflicts, tension and violence. I appreciated the story and strongly recommend the reader to watch this western film and decide for themselves.

Phil Karlson was an erratic director who could sometimes hit one out of the ball park, perhaps without meaning to, as in "Walking Tall." This is one of his better efforts, with some intrinsic ambiguity. There are some interesting moral dilemmas. For instance, you love your son. Would you kill him if he were threatening to kill you?

The beetle-browed Van Heflin is splendid, as usual. After one or two stereotyped parts in his early career, he began to bring a great deal of conviction to his roles. He may have given the best performance in "Shane." And he's convincing here, too, as one of those "powerful men around here" who fought the Indians and enforced his own law when none other was available.

But now, some years have gone by and that approach is out dated. Heflin doesn't quite seem to realize it. He runs his ranch honestly and he's a man of honor but he remains a racist. The town is now settled peacefully and has a sheriff and a deputy, which Heflin treats with friendly disdain.

But his real trouble is with his two sons, reckless and increasingly violent Tab Hunter, and law-abiding tolerant James Darren -- one good, one bad. Heflin approves of the bad son who gets drunk sometimes, has a sweet temper, is quick with his fists, and doesn't like to be bested in any contest. It reminds Heflin of his own youth.

The problem is that Hunter's infractions grow beyond the tolerable. The sheriff is an old friend of Heflin's but when Hunter shoots and kills a couple of men, he has to draw the line. So does Heflin, who now sees what he's responsible for.

Heflin is fine. Katherine Grant is a half breed who is only around so that the tender-hearted Darren can fall in love with her and Heflin can vent his hatred of Indians. ("That SQUAW!") The supporting cast is fine, a good handful of seasoned professionals.

The sons are two handsome young heart throbs of the period. Neither can act. There is handsome young Tab Hunter, outfitted in tight shirts and slacks; and there is handsome young James Darren, in looser clothing as befits someone who doesn't like guns but can love a squaw. Behind the nicely chiseled Aryan face of Tab Hunter lies Arthur Andrew Kelm, a strapping kid from New York who looked good enough to get into the movies although he never uttered a believable word. And behind the troubled yet hopeful eyes of James Darren, we find James William Ercolani, a kid from Philadelphia who looked good enough to get into the movies although he never uttered a believable word.

The story's moral complexity lifts it out of the ordinary shoot-'em-up Western. The two heart throbs almost sink it but it survives despite the carnage they've wrought.

Another western about a son's (Tab Hunter) blind ambition to be the equal of his pioneering father (Van Heflin) in an increasingly civilized west. Saved by director Phil Karlson's talent to move the story along and punctuate it with many exciting scenes, the highlight being a bizarre horserace along the edge of a dangerous gorge, and fine lesser roles by Ray Teal as a lying horsetrader and Mickey Shaughnessy as a deputy whose main job is to keep an eye on Hunter's increasingly unlawful behavior. The familial tension between Hunter, Heflin, and younger brother played by James Darren swings from mildly ridiculous to downright absurd. An at times beautiful film to look at, it comes off well in the end as Hunter gets more and more out of control, drinking, singing, and whoring around on a crazy night, and reaches a fairly stunning conclusion when Heflin is forced to hunt him down.

Very good western,where one more time the villain (Tab Hunter) is much more interesting than the good (James Darren) and his bland girlfriend . The a- man -had-two-sons subject was plundered since the Bible was written ,but,unlike "East of Eden" ,in the boys rivalry for the love of their fathers,it's the one the old man likes best who turns out badly."I wish you could be like your brother" he says to dutiful Davy.The relationship between Ed and Lee Hackett is much subtler than it at first appears.Good use of cinemascope,notably in the scene when Ed Hackett catches a beautiful white mare.The ending is a bit too predictable but it is a thoroughly enjoyable western.

This is an extremely powerful film, with another commanding performance by Van Heflin (Easily one of the most neglected actors of all-time). What you see is in Lee Hackett, is a man who is unaware of terms like LOVE (He essentially sees it as weakness). He is so hard, he even let has sons (Ed & Davy (Tab Hunter & James Darren)) call him Lee instead of dad. His biggest problem however, is actually not being hard, or even powerful, it is being an enabler. It is obvious to viewers that Ed (Tab Hunter) is a sociopath, who will kill and hurt other people just on a whim, and despite that, his father does whatever he believes necessary in order to keep him from being punished for his deeds. Spoiler Ahead: Even after Ed murders Deputy Motley, he says to him, "You fool, I could have gotten you off." It took the showdown against Ed, to realize how much Ed really hated him, and really wanted to have a duel against him, and he had no option but to kill him. I really like the ending where he asks Davy and his Indian woman Clee (Kathrym Grant)to help take your brother home, and they walk out of town, with Clee & Davy supporting Lee on each arm. What I see in the end of this film is hope. The hope being that Lee has finally cleansed himself of the prejudice, anger and hate that consumed him, and by calling Clee over to him (Along with Davy), I think he did.

I've seen this movie more than a few times and it never gets old. Like Col. Potter said,, "All a good movie needs is horses, cowboys and horses." But this story goes beyond your typical oater of black hats and white hats; cowboys and Indians. It's the story of a slightly dysfunctional family that could take place in any era,, and I'm sure it has (been done before/since). What I particularly like about this movie is it is nonstop. I tend to get bored by flash-backs, flash-forwards, flash-sideways, endless chase scenes and lengthy shootouts. There was also one musical scene,, another thing I'm not fond of,, but I think it was done well and it worked for me.

Always more than capable Van Heflin did a great job. Tab Hunter was a real surprise. I haven't seen all of his work,, "They Came to Cordura",, and maybe I'm biased by years of the pretty boy, can't act label but I though he turned in a journeyman performance this time. James Darren,, as always,, was a bit stiff and understated but being the shy, reserved, younger brother,, I believe understated was called for; stiff wasn't. In support there is Mickey Shaughnessy, Robert F. Simon, Edward Platt, Ray Teal, Will Wright and Paul Birch. Not that any of these guys ever mailed in a performance but Simon and Teal were very good.

When I watch a movie I'm not looking to be edified, enlightened, educated, illuminated or inspired. I'm not looking for political statements or correctness (I like "Green Acres" and "The Honeymooners"). I don't delve into the mind of the character and dissect their psyche. I couldn't care less what motivates them. I have neither the time nor the inclination to do any digging. I want to be entertained and this movie did just that. I thought this was a good movie, good story and good acting.

There have been quite a few westerns about the confrontation of father and son. There is even one, Winchester 73 where the son already has killed the father. There is "Duel in the Sun" with Lionel Barrymore-Gregory Peck where the father admires the son in spite of all the evil he does, there is "Broken Lance" with Spencer Tracy-Richard Widmark, also "The Halliday Brand "with Ward Bond-Joseph Cotten. Here it is Van Heflin-Tab Hunter. Tab plays the competitive, tough son, who is trying to outshine the father, it is quite a good performance, perhaps Tab's best, although sometimes he overacts. Although the action takes place in the old west the theme is very actual. It is common to hear so and so described as not tough enough to handle a job or a situation. The problem is that when a father creates a "tough" son he might be creating a monster. James Darren plays Davy Hackett, the nice son with good feelings, but looked down by the father Lee Hackett as being weak and also by breaking the family's laws by falling in love with what they call a "half breed" Clee Chouard (Kathryn Grant). This is an above average western, which goes deep into the character's feelings, worth seeing.

This western is well directed and smartly acted by all involved, but the stand out performance is Tab Hunter's role as the oldest son, Ed. The story begins at the point of our witnessing the finality of Ed's hatred and idolatry of his father, a hard-as-nails, always-has-to-be-better-than-his-sons kind of man. Ed is wound so tight that he has little give for anyone. This performance reminds me of Denzel Washington's Oscar winning role in Glory. As the story goes along, more and more nuances are revealed that show the depth of the character. I watched Glory three times before I caught the depth in that character that deserved an Oscar. I have watched Gunman's Walk twice and saw more depth in Hunter's character the second time. It's a fascinating role (maybe Hunter was drawing from the anger he felt for having to hide himself within the Hollywood treatment he underwent) and I don't think anyone could have played Ed any better. It is a shame when such levels of acting come out of actors not expected to do so brilliantly, because they don't get their just recognition, kind of like Val Kilmer's Doc in Tombstone. Hunter was the beefcake, male blond beauty presented in such a manner by Hollywood. He wasn't expected to actually act well, they didn't even consider it (and he didn't do very well with most of the movies they put him in). When you read the biography of Hunter given here on IMDb, Gunman's Walk isn't even mentioned. The focus is on his Hollywood image. Hunter's Ed is well worth the look. Heflin's Lee (everyone calls him Lee, including his sons) is very well acted and, but for Hunter's performance, shines as the gregarious, tough, but flawed father who had no idea how to raise his sons. In the scenes the two are together, the tension is always there and they play off each other well. All the acting is done well (Bert Convy's ability to ride a horse well is suspect, though). The movie is tightly directed, the action is constant, and there are no scenes that will lull you to sleep. If you like westerns with tense action and flawed characters, you won't be disappointed with Gunman's Walk.

As I love American B movies, Phil Karlson has always been one of my favorite director, with tough thrillers and westerns with very nasty fights and anti corruption subjects ("The Phenix City Story", "Walking Tall"). And always great tough actors, William Bishop, George Montgomery (wahh "The Texas Rangers"), John Payne, Richard Widmark and Joe Don Baker, around 15 B masterpieces. Some are still very hard to find.

Twenty five years ago, I really wanted to see "Gunman's Walk", absolutely invisible. And the only way was to go to a museum and pay for the projection. This is how I discovered this pure treasure, a very strong story of a father facing a psychopathic son, incredibly played by Tab Hunter, completely possessed by madness, he is really scary. Lot of tense psychological details. The cinemascope by Charles Lawton Jr is pure genius and inventive, it is quite rare in westerns.

When producer Harry Cohn saw that movie, "he was literally crying". And Harry Cohn said to Phil Karlson : "you're going to be the biggest director in this business and I'm going to make sure you are." Harry Cohn went to Phoenix, Arizona and died. (Phil Karlson in his only interview I know in the super book "King of the B's").

The story idea for "Gunman's Walk" is extremely familiar. It's the story of a powerful and rich family that tamed the land, the Hacketts. Now, decades later, the toughness that helped them during the early days now is simply out of date--especially since young Ed (Tab Hunter) has been routinely enabled by the patriarch, Lee (Van Heflin). Now Ed seems to think he can do anything with absolute impunity--and Lee seems to be giving him the message that this is just fine, as he'll once again save the boy from his own hubris. In other films like "Last Train from Gun Hill", "The Big Country" and "Duel in the Sun", very similar themes abound.

So what makes this one different? Well, seeing pretty-boy Tab Hunter playing Ed helps make it unique. Also contrasting him with the 'nice' brother (James Darren) worked well--as did the gritty ending. Overall, while very familiar, it works well.

I was surprised when this was shown on TCM for the first time the impact this film has. This is one of Van Heflin's better performances. Tab Hunter is cast well as one of his sons. James Darren is another one though his role is more secondary than Hunter.

Ed Platt (Chief of Control on Get Smart) has a very good role as a lawyer. This movie seems stocked with good character actors.

The script has Heflin as the aged gunfighter with two sons who now owns a big spread outside of town. He teaches his sons the benefits of using guns. This teaching back fires on him in an interesting way. The surprise here is the strength of the ending.

Heflin is not the hero of the old Westerns here. His character is deeper and he does things that hero's don't do. This is a really well done film.

Van Heflin heads the cast of Gunman's Walk and he's the head of the local Ponderosa in his part of the west. He's not as noble as Ben Cartwright or as mean Rufe Ryker in Shane. He's got two sons, one good and one bad, played by James Darren and Tab Hunter.

These guys pretty much do as they please even in these relatively civilized times. For instance Tab Hunter and Van Heflin both wear their six guns to town even though there's a law against it now. Reason being is that they were there before the law and they don't answer to it even if the sheriff is an old friend in Robert F. Simon.

Hunter is taking a lot of the wrong values from Heflin. When he rides an Indian ranch hand off a cliff in pursuit of a wild horse, he's brought up on murder charges. This sets off a chain of events that result in tragedy.

In the meantime younger son James Darren's courtship of half Sioux maiden Kathryn Crosby whose brother was the one Hunter rode off the cliff is setting off some other issues with Heflin. The Indians are living on the reservation now with a rare honest Indian agent Edward Platt looking out for them. Still Heflin remembers nothing but the bad old days except when he needs them as extra hands.

Van Heflin never gave a bad performance in any film he was in. But this film does belong to Tab Hunter who breaks from teen idol mode into a character role of depth.

As for the film it might best be compared to the Robert Taylor/John Cassavetes western from the previous year, Saddle The Wind. There's lots of similarities in the relationship between Taylor and Cassavetes and Heflin and Hunter. And the ending is the same.

Well I've seen more than my share of Western films, but I can't think of another one right now where a man throws down against his own father. One would think youth would prevail, child is father to the man as it were, but not in "Gunman's Walk", a title that doesn't quite fit the story but that's nothing new for the genre.

I caught this one on Turner Classics this evening, neatly timed to coincide with Tab Hunter's eightieth birthday. Cast against type, he portrays 'wild' brother Ed Hackett along side James Darren's more peaceable sibling Davy; they in turn the sons of veteran actor Van Heflin who seems more interesting as a hard case than the characters he portrayed in "Shane" and "3:10 to Yuma".

Hunter is actually pretty good here with a vicious streak that catches you off guard. He really hits stride by the time he confronts father Lee (Heflin) at the bar toward the end of the film. He seemed just slightly forced in that scene, but otherwise it suited the moment to set up the final showdown. I had to wince a bit though when Hunter took up with the pair of saloon gals and blared into 'I'm a Runaway'. I know Hunter had a briefly successful singing career, but you couldn't tell here. He certainly didn't have anything on Rick Nelson in "Rio Bravo".

If you liked Van Heflin's performance, you might want to look up another Western he starred in toward the end of his career - 1968's "The Ruthless Four". He plays a similar hard edged character and it might be a toss up as to which was the better role. Come to think of it, I'm having a little trouble deciding myself, so you'll have to make up your own mind.

Overall, a competent Western, though I didn't find it as compelling as most of the other reviewers on this board. Personally, I thought the Technicolor format worked against it, odd as that might sound. To me, it had the feel of a Fifties B Western and would have come off a bit grittier in good old black and white.

Interesting if minor western about a horse trading patriarch who fails to notice what a cold-hearted killer his son has become. Just like the old man. Fast-moving but over-simplistic characterization leaves it a little short of its potential. [6/10]