StunnaKrypto Self-important, over-dramatic, uninspired.

Protraph Lack of good storyline.

Joanna Mccarty Amazing worth wacthing. So good. Biased but well made with many good points.

Cissy Évelyne It really made me laugh, but for some moments I was tearing up because I could relate so much.

gordonl56 FORT DOBBS – 1958This Warner Brothers duster stars Clint Walker, Virginia Mayo and Brian Keith. Twenty minutes in and I thought I was watching a re-hash of the John Wayne classic, HONDO. Same idea, but it takes a different tact with Walker as a man running from the law for a killing. He flees out into the badlands to escape the posse in pursuit. He manages to throw off the posse but is soon mixed up with a group of upset Indians, and a woman, Virginia Mayo and her young son, Richard Eyer. The rampaging Comanche burn out Mayo's ranch and the three are soon heading for a nearby fort. On the trail they run into gunrunner, Brian Keith. Keith is hauling 100 of the latest repeating rifle to Santa Fe. Needless to say the man is a swine and makes moves on Mayo. Walker steps in and sends Keith on his way. Complicating matters is that Mayo thinks Walker might have killed her husband. They make it to the fort but find the garrison has been overran and wiped out by an earlier Comanche attack. Then a group of civilians on the run from the Comanche, show up at the fort looking for shelter. Among these folks is the Sheriff who had been chasing Walker. They manage to beat off several mass attacks but are running low on ammo. Walker sneaks out to try and go for help. He meets up with Keith and his cargo of rifles again. He suggests that Keith bring the rifles to the fort to help in defense of same. Keith is not happy with that idea and goes for his gun. Walker is quicker off the draw and Keith goes down. Walker manages to get the rifles back to Fort Dobbs just as the Indians are massing for a large attack. The extra firepower does the trick and the Comanche are driven off with heavy losses. The Sheriff looks the other way as Walker strikes out for Santa Fe with Mayo and Eyer. He figures everyone owes Walker their lives.

chipe This movie is a waste of time. I wanted to like it, but couldn't. The only positive things I could say about it is (1) the mountain/dessert scenery, which unfortunately was in black and white, and (2) Brian Keith's performance, which is the only thing that brought the movie to life. Clint Walker's performance was pleasant, not a great recommendation.Along with other reviewer's, I also noticed the well-directed scene where Virginia Mayo had been fished out of the river by Clint Walker, and is seen (obviously naked) under her blanket. The good direction is how she awakes and slowly realizes the situation (undressed by Walker). The point I want to make is that it was a good scene, but an obvious, easy one, and that so many would take the time to draw attention to it reveals how listless the rest of the production is.***spoilers galore***** What prompted me to write this review is to draw attention to some remarkably implausible scenes, maddeningly implausible even for a B-Western: (1) early on, Walker comes upon the lone woman and son in an isolated ranch house during an Indian uprising. A dozen Indians with rifles attack the ranch house with only Clint and the boy shooting their rifles through windows. That the Indians couldn't finish them off, attack from all sides, climb up on the roof, set the place on fire, etc., drove me to distraction. Then later in the darkness, Clint strangles an Indian and the three ride away. Yeesh! (2) later on, white townsfolk in wagons outrace Indians on horseback to a fort. Yeesh! (3) finally, later on, Clint leaves the fort, alone, to go for help and just happens to come across Brian Keith with a few dozen repeating rifles. OK! But he then saves the day by riding alone with some pack horses (packing the rifles) through the Indians surrounding the fort, to save the day. Yeesh, again! (I also disdained the stock action footage.)

dougdoepke Fugitive Gar Davis (Walker) flees from posse across hostile Comanche territory with woman and small boy (Mayo & Eyer), and encounters old foe, the gun-running Clett (Keith).Fine eyeful of parched southwestern scenery—I counted only one interior (the "hospital" scene) for the entire movie. Sure, Big Clint (not Eastwood) has only one "Yes, ma'm, No, ma'm" demeanor for every scene, but that's okay, even if he didn't get to be the next Gary Cooper. Putting old-pro Gordon Douglas in charge was a shrewd move. Note the stages the awakening Mayo goes through in discovering that, yes, Walker has stripped off her wet clothes. Note too how Douglas gets that infernal glint in Mayo's eyes when she first suspects Clint of murdering her husband—it's almost scary. I also like the way the Indians are credited with some military sense when overturning the wagons to make shooters' barricades. Most important, Douglas knows how to integrate the picturesque terrain into the storyline—catch that great framing of the Walker-Keith shoot-out.Fortunately, Warners got Burt Kennedy to do the script— and on the eve of his outstanding work with the Boetticher-Scott ,(Ranown), cycle of Westerns. I suspect Bryan Keith's charming villain was Kennedy's inspiration since likable baddies was a standard Ranown feature. Yes indeed, Keith steals the show with his easy-going charm—a real contrast to the uptight Walker. At this early stage, Keith was an interesting actor, best at squinty-eyed cowpokes as Sam Peckinpah knew when casting him as lead in Peckinpah's brilliant but short-lived TV series The Westerner (1960).The movie itself may have been a hurry-up job—probably that's why there's no Technicolor despite the great scenery, and probably why we get a recycled plot line from Hondo (1953). I guess the hurry-up was to take advantage of Walker's TV popularity. Still, the movie's a very watchable action-filled adventure. What's more, I don't care if the luscious Mayo was pushing 40, she could put her saddle on my horse any day.

Poseidon-3 A fairly standard western tale is uplifted by the calm, towering presence of Walker. He plays a man on the run from a posse who throws them off his trail and winds up at the ranch of a woman and her son who are waiting for her husband to return. They hardly have time to exchange hellos when a Comanche war party shows up outside. It is now Walker's duty to get the woman (Mayo) and her boy to the title fort despite the fact that she blames him for her husband's failure to return and he risks arrest once he gets there. There are a couple of minor twists and turns in the story to hold interest (along with a lot of now-cliched dialogue....occasionally one can put words in the characters' mouths and like clockwork, out if comes!) Keith shows up in a stock role of friend/foe, but adds a spark of creativity to it through some effective character work. Mayo doesn't get a lot to do besides scowl and get into trouble, but does have one amusing moment when she realizes that Walker has seen her naked. Walker is his usual gorgeous self. His soothing, dulcet voice and his monumental frame add much to the film. He plays a sort of mysterious "yep/nope" character along the lines of something Gary Cooper would have done. He's believed to be a killer, but the audience knows that there's more to the story. His willingness to allow himself to be hunted and disdained is in order to protect the honor, even if undeserved, of others. Walker, a true western star, appears to have done most (if not all) of his own riding and stunts. Also, after one particularly wet scene, he is seen shirtless polishing his rifle....quite a visual treat. Anyone should have felt safe in his care. Indians in the film are nothing but savage, faceless plot devices with no discernible reason given for their behavior. This is pretty typical for the time this film was made. The film is nothing amazing, but is pleasantly brief, has some nice scenery, a Max Steiner score and has its share of action and drama to make it watchable.