Hellen I like the storyline of this show,it attract me so much

Fairaher The film makes a home in your brain and the only cure is to see it again.

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

DKosty123 TCM included this Randolph Scott film in it's recent night under the stars. This one is made for a 90 minute second banana under feature. For an under feature it has great color print and supporting cast includes Ernest Borgnine.In this movie the star of the later movie Marty has a pronounced limp as a part of his character. Scott puts in another impressive performance. The camera angles used by the director of this one are quite impressive too.The 1950's are rich in Westerns as even television was cranking them out in record numbers. Enjoyed this one myself.

MartinHafer It's funny, but today Randolph Scott is practically forgotten--even though his track record with film is unequaled. While John Wayne is strongly associated with westerns, he did not specialize in them like Scott and no one consistently produced great westerns like he did--especially since his heyday of about 1950-1960. And, while this is certainly not as good as the best of these, it's still a dandy film.Before I start talking about the plot, however, despite Scott making such good westerns, it's odd that in so many of them small technical details often...well...stink. Like too many of his films, there is a fight scene where the guy doing the fighting is OBVIOUSLY a stuntman. The only way it might have been easier to spot was if they'd used a black lady for these scenes! Also, at the very beginning, Scott has a shootout with some of the worst editing I've seen in years. Clearly, despite his making good films, often the budgets weren't all that great--and this is little more than a B-western in that regard. But, because he was such a great and seemingly effortless actor, you tend to look past these glitches.In this film, Scott plays a bounty hunter--which makes a lot of sense considering the title! However, when he's looking into a year-old robbery, people in a particular small town act amazingly unfriendly. Concensus seems to be that if there are any crooks in town, well, it's no one's business since they didn't hurt anyone in the town! And because they folks aren't especially civic-minded, Randy's got his hands full.The acting, as usual, is good and the action and script also quite good. Plus, there were a few surprises here and there--enough that it's not just another run of the mill genre picture.

Spikeopath The Bounty Hunter sees Randolph Scott star as a Bounty Hunter tracking down three murdering train robbers who may have settled down in the small town of Twin Forks. It's directed by Andre de Toth, in what was the last of six Westerns he made with Scott. It's written by Winston Miller (story) & Finlay McDermid, and features support acting from Marie Windsor, Ernest Borgnine, Dolores Dorn & Howard Petrie. Music is by David Buttolph and Edwin B. DuPar photographs it at Redrock Canyon & the Warner Ranch in California. Coming as it did during the 3D boom of 1953/54, it was shot in 3D but ended up being released in standard flat 2D. Out of Warner Brothers it was shot in their own color format known as WarnerColor.During the early days when civilisation was pushing its frontiers farther and farther West, there roamed a special creed of men. . .neither outlaws nor officers of the law, yet more feared than either. For reward money--they tracked down criminals wanted dead or alive, and made themselves both judge and executioner in some lonely court of no appeal. They were called "Bounty Hunters".The WarnerColor may be dull and lifeless here, but that in no way sums up this perky Randy Scott Oater. Scott was always at his best when playing loners or troubled and pained drifters, in short, when away from a group dynamic he was allowed to flourish as the fine actor he was. So it be here as he lays it on as a no nonsense good bad guy! Quipping away in the face of aggression, Scott is able to portray a man not to be messed with-who is happy to kill for cash-yet remain charming and always endearing himself to the audience. It's quite a knack to be so tough yet also be so affable. But Scott on form could do it in his sleep, and to my mind that makes this an essential film for Scott fans to consider outside of his work for Boetticher & Peckinpah.Once he reaches Twin Forks, the film gathers apace and starts to unfold as a whodunit like mystery. Sure the writing is not forming the townsfolk with any great urgency, and by golly it isn't hard to figure out who the hiding out villains are. But watching the town start to crack under the strain of either being suspicious of thy neighbours, or fretting about being found out, makes for an entertaining piece as Scott moves about them with almost sadistic glee. The smiling assassin comes to mind! It put me in mind of one of Audie Murphy's best film's, No Name On the Bullet, so any fans of that film should certainly get much from this one.There's nothing to write home about technically, Toth deals in standard file and rank direction and DuPar's photography is lost within the dull sheen deliverance at Warner Ranch. While the support cast are nicely dressed, and made up, but ultimately just talking props serving to let Scott grasp the film with both hands. But grasp it he does! With gun in hand, tongue in cheek and the heart of a lion, he lifts this piece above its many other budgetary failings. 7/10

zardoz-13 Hollywood filmmakers have consistently showed nothing but contempt for the eponymous character in the Randolph Scott western "The Bounty Hunter," a solid, somewhat predictable, but hard-edged Warner Brothers' sagebrush shoot'em up directed by the stalwart Andre de Toth who helmed several Scott outings and received an Oscar nomination for the script that he co-authored with William Bowers for "The Gunfighter." Bounty hunters were reviled as morally depraved bushwhackers by Hollywood until the late 1950s when Charles Bronson appeared in the low-budget western "Showdown at Boot Hill" and Steve McQueen embarked on a three year television run with "Wanted Dead or Alive." Nevertheless, bounty hunters received chilly receptions wherever they rode, and these films proved to be the exception to the rule that bounty hunters could serve as heroic protagonists. In "Showdown at Boot Hill," Bronson spent the entire time trying to collect the reward money that was rightfully owed him because he had gunned down a beloved member of the community, while McQueen had to prove himself a likable fellow despite being a man hunter in "Wanted Dead or Alive." "The Bounty Hunter" may not be a pivotal epic in the evolution of the bounty hunter, but it reflects Hollywood's clear lack of sympathy for this objectionable character and how he fitted in with society. What makes this 1954 western so interesting aside from "My Darling Clementine" scenarist Winston Miller's formulaic narrative is how the Randolph Scott character conducts himself and the conversion that occurs at fade-out that allows society to assimilate him by fade out."The Bounty Hunter" opens with this foreword. "During the early days when civilization was pushing its frontiers farther and farther west, there roamed a special breed of men . . . neither outlaws nor officers of the law, yet more feared than either. For the reward money . . . they tracked down criminals wanted 'Dead or Alive, and made themselves judge and executioner in some lonely court of no appeal. They were called "Bounty Hunters." Thirteen years later, Italian director Sergio Leone provided a somewhat different foreword to his spaghetti western "For A Few Dollars More." You see the difference that the intervening years had made: "Where Life has no value, death sometimes has its price. This is why the bounty hunters appeared." Interestingly, whereas "For A Few Dollars More" opens with the bounty hunter bushwhacking an outlaw, "The Bounty Hunter" opens with an outlaw trying to bushwhack the protagonist. The bounty hunter that Randolph Hunter plays in "The Bounty Hunter" is every bit as tough and ruthless as the bounty killer that Clint Eastwood created in "For A Few Dollars More." One character observes cynically about Jim Kipp's tenacity, "Well, you know what they say about you, you'd turn in your grandmother on her birthday if there was a reward on her." The mentality of the 1950s prohibited Scott from wearing a beard like Eastwood and he doesn't draw first in a showdown. In fact, despite the hostility expressed toward bounty hunters, the filmmakers go out of their way to whitewash the Scott character as much as possible. He doesn't shoot first and ask questions later and he tries to bring his prey in alive. Moreover, he tosses back the small fry. A young rancher tries to bushwhack him, but Kipp disarms him and refuses to ship the kid back to prison. Later, Kipp explains his origins as a bounty hunter. He watched helplessly as his storekeeper father was gunned down by outlaws because he didn't have enough money for them to steal. This incident prompted the young Kipp to become the most dreaded bounty hunter.After Kipp has picked up his $500 bounty reward for the outlaw, a Pinkerton Detective approaches him in the barbershop with a proposition. About a year ago, seven masked robbers held up a train with $100-thousand in currency from the Philadelphia mint bound for Dodge City. They killed three guards and crippled several bystanders. A local trailed the desperadoes and killed four of them and wounded another in the leg. The robbers vanished off the face of the earth and none of the bills from the hold-up have appeared in circulation. The Pinkertons have run into a dead end and they need to reassign their best agents to other cases so the famous detective agency offers Jim Kipp the sum of $10-thousand dollars to do what they couldn't—find the outlaws and the loot. Reluctantly, Kipp takes on the job and rides across the desert to a way station frequented by owlhoots and learns that the survivors paid for three canteens of water. Kipp rides to Twin Peaks, the nearest place that the hoodlums could have ridden in the parched desert wasteland without dying from thirst. Predictably, he receives another chilly reception, especially from a hotel clerk, Bill Rachin (Ernst Borgnine) who walks with a limp. Kipp tells the inquisitive Rachin that he will conclude his business in a week's time. Kipp questions the local doctor, Dr. R.L. Spencer (Harry Antrim of "Baby Face Nelson") about a man who might have needed his help for a gunshot wound a year ago. The doctor isn't exactly truthful with Kipp, but he defends his actions to his daughter. Kipp wasn't a lawman so the good doctor didn't have to violate the sacred patient/physician oath of confidentiality to reveal the truth.Kipp's presence in Twin Peaks has everybody upset and on the prod. Several surprises await anybody who winds up watching this entertaining oater, not the least of which is Kipp's refusal to send an escaped convict back to jail. In fact, the youthful convict defends himself by pointing out that he committed the crime a long time ago and now is a responsible member of the community with a wife and a baby on the way. In the end, according to those moral dictates of the 1950s, the Kipp character stops bounty hunting, becomes the town lawman, and takes Spencer's daughter as his wife.