THE ASSASSIN (1952—aka VENETIAN BIRD)

Edward Mercer (Richard Todd, pictured), who works for an American relief society, arrives in Venice on an assignment: track down Renzo Uccello, an Italian resistance fighter who saved the life of an Allied soldier in WWII, and give him a reward from the soldier's family. He has placed an ad in a newspaper asking for information on Uccello, and he gets one reply from a man named Carlo. They meet at a church but two thugs arrive and attack Carlo. Mercer takes him to his hotel room but eventually Carlo ducks out through the window, seemingly no longer willing to share what he knows. Mercer finds out that Carlo has a job at at an art gallery in a old mansion run by Count Boria (Walter Rilla) but is stonewalled there, though he does make contact with Adriana (Eva Bartok), Uccello's former girlfriend, who says that Uccello died at the end of the war. Circumstances lead Mercer to believe that Uccello planted his identity papers on a dead body in order to disappear, and he keeps looking for Uccello, to the dismay of almost everyone around him, including the local police chief (George Coulouris). Almost the only person on his side is Rosa, an old acquaintance from the war days. Meanwhile, the big news in town is a visit from a controversial political figure named Nerva, and when Mercer overhears a conversation between Boria and another man implying that they are conspiring to assassinate Nerva, Mercer suspects this may have some tie to Uccello, and he's right. 

This is a decent thriller which could be made leaner and better paced with the excision of a couple of characters. Todd is excellent as the man in over his head who is always just a beat or two behind the bad guys, and it's not always easy to tell who's a good guy and who's a bad guy. It's also not clear why Mercer stays on in Venice after he hears that Uccello is dead, except there wouldn't be much of a movie if he did leave. Rilla, Bartok and Coulouris are all very good, as are John Gregson as a cop and Margot Grahame as Rosa. But it's the Venice location shooting that is the real star of the movie. I don't like to use the old saying that the location is like a character, but here it's close to being true. The gallery in particular is nicely atmospheric. I suspect that most of the interiors were shot on sets in England, but they are integrated nicely with the Venice footage. The American title (The Assassin) is bland but it fits the story; the original British title, Venetian Bird, is more colorful and refers to a restored painting that provides a clue for Mercer, but it's really no more descriptive of the narrative. Many viewers compare this to the famous Carol Reed thriller The Third Man, and some even prefer this, as I do—I always get bogged down in the draggy plot and the irritating soundtrack of the Reed film. The tension slackens a bit in the last third, but a climactic rooftop chase ends things well. On DVD in the British Noir boxed set, which means that it's not really noir, though the general feeling is close to genuine noir. [DVD]

ALI BABA AND THE SEVEN SARACENS (1964)

(aka Sinbad Against the Seven Saracens, a translation of its original Italian title.) Several Arabian tribes are about to unite under the King of the Throne of Gold. He will be chosen, as per the laws of the Magi, through a tournament of eight warriors, one from each tribe, to take place on the day of a predicted solar eclipse. The men gather and Omar (Gordon Mitchell, pictured), ruthless and merciless, aims to win. Meanwhile, Ali Baba is leading his tribe, the Marrishi, in a revolt against Omar. After they arrive by sea, two of his captured men are tortured and one of them reveals the whereabouts of the invading party. Ali Baba escapes an attack and is taken to a cave in the desert by the buxom harem girl Fatima. She is the niece of court member Haswan, and Omar has a thing for her, much to the annoyance of his official mistress Farida. In two seconds flat, Fatima and Ali Baba fall in love for no particular reason. The two are captured and thrown into a prison for slaves, but Ali Baba, as the tournament representative of his tribe, is set to join the other warriors. Haswan, who appears to be loyal to Omar, actually helps the rebel slaves in their escape plans. More directly helpful are Meneth and his pal, the dwarf Jukki, who proves invaluable in sneaking through tiny secret corridors. Also helpful is the harem eunuch who communicates in tics and grunts. On the day of the eclipse, the tournament goes on and, as one might predict, it comes down to Omar and Ali Baba in a final face-off on chariots, as the slaves wait outside the city's stone gate, hoping that Jukki can access the secret mechanism that opens it and will allow the rebels to help Ali Baba.

Between a poor print, bad dubbing, and sloppy writing, I cannot guarantee the accuracy of my summary. I may have taken some liberties, but I think it’s pretty close to what really happens. In the original Italian print, the lead’s name is Sindbad, but it might as well be Joe or Bob for all the character has to do with actual Arabian Nights tales. The well-muscled Gordon Mitchell, who usually plays peplum heroes, chews the scenery as the chief villain. Dan Harrison (real name Bruno Piergentili) is handsome but otherwise not terribly well equipped to be a muscleman hero. If the two had switched roles, they might have been more effective, though I don't know that Harrison had it in him to deliciously overact. Sword and sandal fanboys love Bella Cortez as Fatima (she co-starred with Mitchell when he was a hero in THE GIANT OF METROPOLIS; she’s certainly physically right for the part. Carla Calo as Farida has little to do except be featured in a pajama "catfight" with Fatima that turns into a free-for-all. I should mention the odd character of Sharif (Tony Dimitri), Omar's chief henchman. Always wearing a red velvety robe, he is seen frequently but has little to do except purse his lips and clasp his hands in a somewhat fey manner. I kept expecting him to be gay (in the opening, he seems to enjoy watching the torture of two sweaty bare-chested men) or involved in secret plotting, but no such luck. A crucial midnight scene plays out in bright daylight, with no attempt made at even minimal day-for-night. I started watching this on a bad DVD print, then found a YouTube version which claims to have been "AI restored." They appear to be the same print, choppy and badly panned-and-scanned, though the restored version is a little clearer (and also a little shiny, an AI artifact I assume). Also, the second and third reels seem reversed. The visiting six Saracens arrive at Omar's palace and introduce themselves, then ten minutes later, we get a scene of Omar going over the rules of the tournament as though the six fighters hadn't been chosen yet. The battle scenes are fine. I might watch this again if a truly restored widescreen print ever turns up. [DVD/YouTube]

THE YOUNG STRANGER (1957)

Hal (James MacArthur) is a student at a Beverly Hills high school. His family has money but poor Hal is stuck driving a junky jalopy that has to be pushed to get started. Hal's mother Helen (Kim Stanley) is loving but his dad Tom (James Daly), a film producer, is distant, never having time for Hal, and when he does, he's usually berating the boy for something. One night, Hal and his buddy Jerry go to the movies. Hal insists on putting his feet up on the seat in front of him even the patron sitting next to that seat complains. Eventually, Hal is forcibly ejected from the auditorium and Mr. Grubbs, the theater manager, first tells him to leave, then tries to get him to go into his office. When Hal instead starts to leave, Grubbs grabs him and pushes him toward the office. Hal responds with a sock to Grubb's jaw. Hal and Jerry are taken to the police station and Tom takes him home. When Hal tries to explain that Grubbs started the fight and that he was just defending himself, Tom won't listen. Helen tries to talk to Tom about their son's behavior, but Tom is more interested in making a martini. When Jerry's father finds out what happened, he forbids his son from hanging out with Hal. It's not terribly surprising that, even though Grubbs decides not to press charges, Hal is adamant about getting Grubbs to admit that he started the altercation—at one point, he admits what he wants is a father who believes him. When Hal goes back to the theater, things don’t go well for Hal.

In the era of JD (juvenile delinquent) movies, this is a remarkably gentle film. Hal is certainly no delinquent, though he does have the stereotypical problem of being misunderstood. There’s a scene in the police department with Hal and an actual JD talking that reminded me of the "Gee, Officer Krupke" number from West Side Story. Hal's first encounter with Grubbs (Whit Bissell, frequent enactor of authority figures both good and bad) is presented with just enough ambiguity to make Grubbs' claim of assault valid. MacArthur, in his first starring role, is good; he's confident and fresh-faced. His complaints to his parents get a bit repetitious, but that's the fault of the writing. Daly is very good as the father who today would be considered a bad parent, but in the 50s would have come off more as just clueless. Stanley is wasted as the mom shunted to the background most of the time. James Gregory (better known as the gruff Inspector Luger on TV's Barney Miller) is fine as the cop who eventually winds up on the boy's side. Jeff Silver has the small but important role of the friend who wants to stand up for Hal but is hindered by his own parental pressure. Their reconciliation scene involves a shirtless Jerry wrestling with Hal in a bunch of raked leaves. At least one IMDb reviewer sees gay content here, but to me it comes off more as homosocial rather than homoerotic (even if thinking about wrestling with James MacArthur does make me smile). This feels like a TV movie, and indeed it was based on a TV drama from 1955 that featured MacArthur, Bissell and Silver. Worth seeing as a period novelty with a somewhat improbable happy ending. Pictured are Silver and MacArthur. [TCM]

THE SCARLET CLAW (1944)

It's a foggy night in the rural Canadian village of La Morte Rouge. At an inn, the villagers discuss how sheep have recently been found dead, their throats ripped out, and a weird glow has been seen on the marshes. That night, the church bell begins tolling and doesn't stop. When the priest investigates, he finds the dead body of Lady Penrose, her throat cut and her hand clutching the bell rope. In Quebec, her husband is addressing a meeting of the Canadian Occult Society at which Sherlock Holmes (Basil Rathbone) and Dr. Watson (Nigel Bruce) are present. Penrose argues for the reality of occult explanations, whereas Holmes says they agree on the importance of facts but differ on interpretations and deductions. When Penrose receives news of his wife's death, he heads back to the village. Holmes then receives a letter from Lady Penrose sent the day before asking him to come to the village to investigate a threat to her life. Telling Watson that this is the first time they have been retained by a corpse, Holmes heads to the village where he finds Lord Penrose mourning his wife but refusing to cooperate with Holmes. But Holmes soon discovers that Lady Penrose used to be an actress named Lilian Gentry, and had been involved in a murder case in which an actor named Ramson killed another actor over attentions to Lillian. Holmes believes that Ramson escaped from prison and has insinuated himself in the village under another name and is the cause of the recent mayhem, using a multi-toothed garden weeder that leaves a claw-like mark on the throats of the victims. Now Holmes surmises that two other people who were involved in the judicial side of the case and now live in the village are marked for death.

After 1943's SHERLOCK HOLMES FACES DEATH brought Gothic atmosphere back to the Rathbone series, the next film, THE SPIDER WOMAN, reverted to a more traditional London setting. Here, in the sixth Universal film, we're closer to Gothic territory again, if not in "old dark houses," then in an insular gloomy community, with most of the action taking place at night. In fact, there is a Baskervilles feel to this film, what with a glow-in-the-dark presence on the marshes which look very much like moors, and talk of the supernatural. The plot of this one is a bit more complicated and moves a bit more slowly than most of the earlier films, though I was never bored. The Canadian setting means there is no Mrs. Hudson or Inspector Lestrade, but they're not missed. There are a number of local color characters, most of whom wind up not being important to the story and, surprisingly, Lord Penrose (Paul Cavanagh, pictured at left), who is set up in the beginning as a nemesis and possible villain, fades into the background. Supporting actors include Miles Mander (as a crippled retired judge), Gerald Hamer (as the village postman), Arthur Hohl and Ian Wolfe. Bruce continues to get his comic relief bits, and there is, as in most of the previous Universal films, a sentimental, patriotic final speech by Holmes, this time quoting Churchill about the glory of Canada. [DVD]

THE MYSTIC (1927)

In Hungary, we see a carnival act composed of Poppa Zazareck, his daughter Zara, and her lover Anton who are famous for a clairvoyance act with Zara as a mystic performing magical feats. A mysterious stranger who is following the trio turns out to be American Michael Nash who wants to take the group to New York City to pull their act on gullible rich folks. Nash arranges it so that Zara's arrival in Manhattan is front-page news and soon she and her confederates are working the salons of the upper class with seances featuring floating guitars and ectoplasmic apparitions and such. Three suspicious men show up at the seances hoping to expose their tricks but are thwarted. Nash soon falls in love with Zara, triggering jealousy in Anton, and as they're about to pull off their biggest swindle, getting money out of young socialite Doris Merrick, Nash suspects her guardian, Bradshaw, of embezzling money from her estate so they try to convince Bradshaw that the ghost of Doris' father has returned and knows what’s going on. Their plan is to get Bradshaw to give money back to Doris and then to get it out of Doris, but Nash has an attack of conscience and wants to reform, a decision which does not sit well with the carnival trio.

This is a Tod Browning silent film which has been difficult to find until recently when it was issued as part of a Criterion set which includes his most notorious film, Freaks. The two have in common glimpses of carnival life and elaborate plans to hoodwink folks. This is a fairly traditional melodrama which hinges on a con man who sees the light but maybe too late. That’s not meant as a criticism, but if you're coming to this expecting anything spooky (like Browning's Dracula) or truly mystical (as in the title of the film) or subversive (as in Freaks), you'll be disappointed. Aileen Pringle as Zara is fine but her relatively low-key performance is overshadowed by the others who are allowed a bit more expressiveness: Conway Tearle as Nash, Mitchell Lewis as Poppa, and Robert Ober as Anton. The costumes for Pringle (see picture above) are by famed art deco artist Erté, though he is uncredited and was apparently fired mid-shoot. The seance scenes do generate some solid creepiness, and the behind-the-scenes sequences are fun. The ending is surprisingly upbeat for most of the characters. There are sound effects, but it's strange to hear knocks on doors and paper being folded but not to hear voices. The new score on the Criterion disc by Dean Hurley is excellent, bucking the recent trend of weak modern musical tracks. [Blu-ray]

SHERLOCK HOLMES FACES DEATH (1943)

Musgrave Manor, in rural Northumberland, is being used as a center for recovering shell-shocked soldiers, and Sherlock Holmes' sidekick Dr. Watson is temporarily serving as a supervisor. The situation at the manor: the Musgrave brothers, Geoffrey and Phillip, disapprove of their sister Sally getting serious about dating the American Captain Vickery. At a local pub called The Rat and the Raven (which has a real raven as a mascot), we hear talk of mysterious doings on the moors where ghosts can be heard wailing, and at the manor where the clock occasionally strikes 13, presaging a death. One night at the manor, Dr. Sexton is attacked with a knife near the greenhouse. He survives, but Watson goes to London to consult with Holmes who agrees to visit the manor. By the time they arrive, however, Geoffrey is found dead outside, his body buried in a pile of leaves. With Phillip now the next in line as heir, Sally must be initiated into the Musgrave Ritual, the recital of a mysterious and seemingly nonsensical poem. On the stormy night of her recital, lightning strikes through the window, hitting a suit of armor and scaring the bejesus out of everyone. Brunton, the butler, is a drunkard who knows more than he is telling about the family history. Three of the recuperating soldiers are built up to be suspects, (one of them frequently breaks into a rictus smile for no reason), but they seem more eccentric than dangerous. When Phillip is found dead in the trunk of a car that Sally was driving (the raven from the pub finding the body), Holmes gets serious, examines the text of the mysterious ritual, and realizes the odd lines about a bishop and a king refer to chess, and Holmes instigates a human chess game played on the black and white tiled floor of the main room in the manor, discovering a clue to a buried treasure in the basement. Not everyone will live to see the treasure unearthed and explained.

This, the fourth (after IN WASHINGTON) in the Universal series of Holmes movies, marks a major change in content and atmosphere. It's still set during World War II, but there are no spies, no documents involving national security, and the shell-shocked soldiers are the only real reminders of the war. Instead, this is at heart a Gothic old dark house mystery, complete with shadowy rooms, secret passages, rumors of ghosts, and red herring suspects. I'm not sure if it's the best of the Rathbone films, but it's certainly fun. This is the first Holmes film I saw, back in the mid-60s; I vividly remember the human chess board scene (pictured above), a standout moment in the series. Years later, I remembered the scene but not what movie it came from, and when I saw this film in my forties, I yelped out loud in excitement at my discovery of the scene. There is no need to comment on Basil Rathbone or Nigel Bruce—they are encased comfortably in their roles as they would be for the rest of the series.

The supporting cast is adequate if not exceptional. Hillary Brooke (Sally), a frequent B-lead, is fine. Dennis Hoey is brought back from SECRET WEAPON to play Lestrade, largely as comic relief. Halliwell Hobbes is good as Brunton who, though often drunk and pissed off, becomes surprisingly important to the mystery. Milburn Stone is the American soldier, Gavin Muir is Phillip, and Vernon Downing (pictured with Rathbone) is a standout among the patients as the involuntary smiler. Sets, cinematography and atmosphere are all first-rate. The closing bits of dialogue, as in the earlier films, are used, if not for patriotism, for uplift, as Holmes muses, "The old days of grab and greed are on their way out" (pretty to think so!). Best line: as Watson has to identify himself to a policeman, he says, "I’m Dr. Watson" in an overly proud way, and the cop replies, "Well, I'm Mrs. Miniver!" It's notable that, though Watson and Lestrade do some of their usual bumbling, they are both actually helpful at the climax. [DVD]

SHERLOCK HOLMES IN WASHINGTON (1943)

Sir Henry Marchmont, a British diplomat, takes a transatlantic flight from London to New York on some kind of official business. He is watched closely by William Easter and two other men, anxious to get their hands on a document he is carrying. But by the time they wind up on a train from New York to Washington, Easter has figured out that Sir Henry was just a decoy and the document is in the possession of a John Grayson (whose name is actually Alfred Pettibone, not that it matters much). In the train's lounge car, Grayson, knowing he's being watched, chats with a handful of folks, finally passing a "V for victory" matchbook into the purse of socialite Nancy Partridge. Grayson vanishes when the train stops, and soon Sherlock Holmes and Dr. Watson are sent to the States to investigate. They are supposed to stay at the British embassy, but Holmes is sent a reservation at the Hotel Metropole from an unknown source. When he arrives at the hotel, a trunk is delivered to his room which contains the dead body of Grayson. As Holmes has been known to say in other circumstances, the game is afoot. Easter and his men, assuming they are looking for a legal paper-size document, manage to search the homes of most of the lounge car passengers that Grayson had contact with, but we discover that Grayson had shrunk the pages onto microfilm and hidden them in the matchbook. By process of elimination, both Holmes and Easter wind up at Nancy Partridge's engagement party and soon the innocent little matchbook winds up in the hands of the villainous bigwig behind Easter, Richard Stanley, an antiques dealer, though he doesn’t know its importance at first. Nancy is kidnapped, Holmes plays a cat-and-mouse game with Stanley, and the police get involved before everything is sorted out and the document is saved.

The third in the Universal series of Sherlock Holmes movies set during WWII is a little less of a flag waver than the first two, but it's still more a spy story than a detective story, though Holmes does get to use physical clues to obtain information (for example, how he figures out that the spies are headquartered at an antiques shop). Basil Rathbone and Nigel Bruce continue to work together well as Holmes and Watson, though this film continues Watson's slide into dottiness that began in SECRET WEAPON. George Zucco, so good as Moriarty in ADVENTURES OF SHERLOCK HOLMES, is the chief villain and Marjorie Lord (later Danny Thomas's wife on his popular sitcom) is adequate as Nancy, A strong supporting cast includes Henry Daniell (who would play Moriarty later in The Woman in Green) as Easter, John Archer (who was married to Lord) as Nancy's fiancé, and Gavin Muir and Edmund MacDonald as cops, with MacDonald in particular (pictured with Rathbone) functioning as a kind of American Watson. There is a sequence at the engagement party in which we see the "V" matchbook get transferred about the room to different people, none knowing its importance, but it ends up right where it started, so it seems to have been just an elaborate visual gag. The train car scene is nicely played. This is the first of the Rathbone films not to be credited as based on a specific Doyle story. [DVD]

I’LL NEVER FORGET YOU (1951—aka THE HOUSE ON THE SQUARE)

Peter Standish (Tyrone Power) is an American scientist working in a British atomic research laboratory. A bit intense, he has to at times be reined in by his bosses, and his friend Roger (Michael Rennie) suggests he take some time off and stay at the Pettigrew mansion, an old house that Peter has inherited. Peter tells Roger that the house was once owned by his ancestor, also named Peter, in the 1700s, and that he was an American who came to England to marry his cousin Kate Pettigrew. He shows Roger a painting of the first Peter, then announces his intention to travel back in time to 1784 to meet Kate. After the skeptical Roger leaves, a lightning bolt hits Peter and when he comes to, he is indeed in 1784 (with the black & white film now in color) in Georgian clothes, as the first Peter Standish, just off the boat from America. Peter has done some research on his ancestors and manages to pass himself off as genuine, at least for a while until he starts slipping up by mentioning technology that doesn't exist yet; he sets up a secret lab to work on such inventions. Meanwhile, he finds himself falling in love with Kate's sister Helen (Ann Blyth). Because of more slip-ups as it becomes clear that he knows what lies in the future, people become afraid of him. Peter tells Helen the truth and when she looks into his eyes, she can see the future. Soon his behavior is so bizarre that he is committed to an asylum, but lightning strikes again and Peter wakes up in the present day and discovers that his ancestor had, in fact, been transported to the 1950s and is now presumably back in 1784. How will Peter's romantic entanglements work out? This is based on a popular play called Berkeley Square which was made into a movie with Leslie Howard. I'm not really a Tyrone Power fan and I found him inferior to Howard, coming off as a bit wooden. Ann Blyth is quite good as Helen. As in the earlier film, no explanation is given for the time travel event; as happens in the later Somewhere in Time, it seems to have been desperately willed into happening, and the possibility that the whole thing was a dream is dispensed with by the apparent travel through time of an ankh that Helen gives him (also as in the original movie). Directed by Roy Ward Baker who made a mark in the 70s as a horror director.  Interesting as a little-seen fantasy novelty but not required viewing. The earlier film is the preferred choice for viewing. Pictured are Power and Blyth. [DVD]

SHERLOCK HOLMES AND THE SECRET WEAPON (1942)

In a cafe in Switzerland, an old man with a bundle of books approaches two men and offers to sell them some rare books. But actually, the two man are German spies trying to get their hands on a new bombsight made by Prof. Tobel, who lives just across the street from the cafe, and the old bookseller is their contact, who has been assigned to approach Tobel while the other two men wait for his signal to come and grab the bombsight. But the old man is Sherlock Holmes in disguise and he uses Tobel's servants as decoys to spirit Tobel away and off to safety in London. Holmes has Tobel stay the night at his place (221B Baker Street, of course), and leaves his associate Dr. Watson to guard him, but Tobel sneaks out to see his girlfriend Charlotte. He gives her a coded message, written in the form of dancing stick figures, to give to Holmes if anything should happen to him. The next day, Tobel attends a test of the bombsight and, though he offers its use to the British government, he insists on keeping its secrets to himself, going so far as to hire four different technicians to make the parts of the device. Soon, Tobel has vanished and Scotland Yard is called in, with Inspector Lestrade assisting Sherlock Holmes. Charlotte gives Holmes the envelope with the coded message, but inside is just a note saying "We meet again" from his nemesis, the evil Prof. Moriarty. Following leads, Holmes again disguises himself and noses around the docks only to be caught by Moriarty and his thugs. Holmes is stuffed into the false bottom of a large trunk and is about to be dumped in the river when Watson and Lestrade come to the rescue. Moriarty decodes the dancing men message and finds three of the four bombsight parts, then tortures Tobel to find the fourth scientist. Meanwhile, Holmes has also pieced together the coded message, and he and Moriarty do meet again, this time in person, where Moriarty plans on killing Holmes by slowly and painfully draining his blood from his body. Can Watson and Lestrade save the day?

This is the second of the 1940's based Holmes films, and like the first (VOICE OF TERROR), it has a wartime propaganda element—a patriotic quote from Richard II ends the film in a rousing fashion—but that doesn't detract from the adventure. Rathbone as Holmes is fine, as is Nigel Bruce as Watson, though this movie seems to mark the beginning of making Watson a bumbler, beginning with his falling asleep while guarding Tobel, allowing him to leave the apartment. Lionel Atwill is a bit of a letdown as Moriarty, seeming a little low energy compared to George Zucco in Adventures of Sherlock Holmes. Dennis Hoey makes his first of several appearances as Lestrade, and Mary Gordon is back as Mrs. Hudson. It is fast-paced with lots of action, and the blood draining scene is worthy of being included in a horror movie. A notch above Voice of Terror in plotting, a notch below in terms of style and mood. Pictured are Rathbone and Atwill. [DVD]

BELLE STARR'S DAUGHTER (1948)

New Mexico, the 1880s. A truce has been called between Cherokee Flats, a town ruled by bandit queen Belle Starr, and Antioch, a town that Starr and her men frequently plunder. No one from Cherokee Flats is supposed to be in Antioch's city limits while carrying a gun, but the marshal finds Bittercreek Bob and his sidekick Yuma in town and armed, and the two shoot him dead, an incident which threatens to stir up tensions again. Bob is sweet on Belle's daughter Rose and has been teaching her to use guns, but when Belle finds out what happened in Antioch, she confronts the two men, leading to Bob shooting her and Rose's uncle, setting fire to their cabin, and trying to lay the blame on Tom Jackson, Antioch's new marshal. Rafe, Belle's sidekick, suspects Bob, but Rose is led by Bob to think it was Tom, so she heads into Antioch, angling for revenge. She's hired as a saloon worker and, though Tom gets interested in her, she is soon outed as Belle's daughter. Their relationship is stilted at first but starts to thaw a bit until Bittercreek Bob comes to town, afraid that Rafe, who has accompanied Rose to Antioch, will voice his suspicions about Belle's death. There's a rousing barfight in which Rafe is shot dead, and Bob takes Rose, now sure that Tom killed her mother, into his gang and she joins in on some robberies. Tom goes after them, and during a chase, Yuma is badly wounded. Rose wants to bring him on the run with them, but Bob, knowing his chances of recovery are nil, wants to leave him to die. When Yuma admits to Rose that it was Bob who killed her mother, she redirects her need for revenge. You can look up information about the real Belle Starr and the real Rose (who was not Belle's daughter), but this movie is much less about those women than about the conflict between Tom (George Montgomery) and Bob (Rod Cameron). Both actors are fine here, with Cameron perhaps getting the edge just because his character is a little more layered and developed; we learn very little about Tom and he becomes basically a good guy stick figure. Also, Bittercreek Bob is based on a real outlaw, Bittercreek George. Ruth Roman (Rose, pictured with Montgomery) had been in several movies, but this was her first lead. She is third billed behind Montgomery and Cameron, and frankly, her character is only third in importance. She's out of the action at times, though she plays a large part in the climax. Wallace Ford is Rafe and William Phipps is Yuma. This is probably a B-film but it's a notch above average for the era. [TCM]