Matialth Good concept, poorly executed.

Console best movie i've ever seen.

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

ma-cortes In Wyoming , when his sweetheart is murdered , then an embittered cowboy (Arthur Kennedy who was playing a young man , he was actually three years older than Mel Ferrer) hunting enemies and on the trail of his fiancee's murderer . First with a posse, then by himself , to an outlaw hideout ranch called Chuck-a-Luck (it means a gambling game commonly played in saloons in the Southwest) . As he arrives in Rancho Notorious and the main question is the following : to guess the killer in the mansion . Then , he falls for a dance girl , Altar Keane (Marlene Dietrich who sings some songs in his usual style) , ranch owner that is a refuge for thieves and she posing as an upright rancher and horse seller . In the ranch there is a motley group of bandits (Frank Ferguson , William Frawley , Francis McDonald , Jack Elam and George Reeves with a scar on his cheek) led by Frenchy Fairmont (Mel Ferrer) who scheme to rob a bank in Clay Springs city . This traditional Western contains drama , thrills , rousing action , frontier adventure , shootouts , and exuberant outdoors , though including matte painting images . This vintage epic Western turns out to be a throughly entertaining picture that will appeal to Western fans . It is an interesting flick in which an initial murder triggering off a tale of hatred , vengeance and a triangular love . A ¨period¨ sample'of 50s westerns , but different to common themes . Fine acting and a lot of duels , shots and killings . Medium budget Western for all those who love moody , thoughtful westerns . This is a very good Western by Fritz Lang , he made three , there's only one better than this , and that's ¨The return of Frank James¨ . Good performances for all-star-cast . Nice acting by Marlene Dietrich at her slinkiest , in fact Rancho Notorious is a must for Marlene fans . As Arthur Kennedy as a ranch hand called Vern Haskell who pursues the killers his girlfriend, following the trail to an outlaw's roost . Kennedy holds his twisted expression to great effect as the relentless cowboy hunting a hidden killer . Acceptable Mel Ferrer as Frenchy Fairmont , an outlaw really enamored to Altar and who defends his love .The film displays a brilliant cinematography in rich Technicolor by expert cameraman Hal Mohr who had previously photographed Marlene Dietrich in Arizona (1939) . In addition , attractive and evocative musical score by Ken Darby , Emil Newman and uncredited Hugo Friedhofer and Arthur Lange ; including some catching western songs . The motion picture produced by Howard Welsch and RKO was tight as well as seethingly directed by Fritz Lang with great enthusiasm and in his particular style . This was Lang's third Western , following his favorite ¨The return of Frank James¨ with Henry Fonda and ¨Western Union¨ , a Darryl F Zanuck's 20th Century Fox production about construction of the glamorous ¨Western Union¨ route from Omaha , Nebraska , to Salt Lake City , Utah with Robert Young and Dean Jagger . The German Fritz showed himself a master of the most American of genres . As Lang directed masterfully all kind of genres as Noir cinema as ¨Big heat¨ , ¨Scarlet Street¨ and ¨Beyond a reasonable doubt¨ , Epic as ¨Nibelungs¨, suspense as ¨Secret beyond the door¨ , ¨Clash by night¨ and Lang's trilogy about Nazi time as ¨Cloak and dagger¨, ¨Man hunt¨ and ¨Hangmen also die¨, and of course , Sci-Fi with the classic ¨Metropolis¨. Rating Rancho Notorious : Better than average . Well worth watching .

alanrhobson An excellent Western, tense, powerful and moving. There is an air of tragedy and regret pervading the atmosphere, which makes it all the more highly charged. It also contains a number of fine set-pieces.Of the cast, Mel Ferrer is very good indeed as the stylish, charming gentleman-gunman, and Arthur Kennedy gives his usual fine performance (full of fevered intensity) as the hero.The film is often underrated (one of the leading film books in the UK, Halliwell's Film Guide, gives it no stars at all) which is why I have left this comment. It is a first rate, highly enjoyable Western, and thoroughly recommended.

aimless-46 The interesting thing about Fritz Lang's western "Rancho Notorious" (1952) is that it is very interesting. Mostly that is style over substance because the story is rather routine and the cast is nothing to write home about. Yet somehow the way Lang tells the story transforms this film into something very special. Flashbacks were nothing new, even in 1952, but Lang uses them very efficiently at several points in the film to provide a nice bit of background and character development. Lang sets up the story with a goodbye scene between Beth Forbes (Gloria Henry or Mrs. Mitchell to "Dennis the Menace" fans) and her fiancé, cowboy Vern Haskell (Arthur Kennedy), who gives her a jewel-studded brooch on his way out of town. The story is told from Vern's point-of- view, so when later that day Beth is raped and killed in her fathers assay office, Lang has the violence occur off camera, showing only accomplice Whitey waiting outside the office. The murderer is shown very briefly and his identity remains almost as unclear to the viewer as it is to Vern. The film is about Vern's efforts to track down a man who he cannot identify. This is what gives the film a complexity (to the first-time viewer) that is far greater than the standard "avenge your sweetheart's murder" story. Not unlike "High Noon", where the Frank Miller character provides all the motivational elements but is not actually seen until the last few minutes of the film. Lang understood how to structure a film and uses the language of film to play with his audience. Vern continues alone after the town's posse turns back (insert "The Searchers" here) at the Wyoming border. Meanwhile the two outlaws have a falling out and the murderer shoots Whitey and leaves him for dead. Still being told from Vern's POV, Lang cuts ahead to Vern catching up with the dying Whitey who mutters "chuck-a-luck" when asked where his murderer is heading. Chuck-a- luck, the alternative title of the film, is a gambling wheel (sometimes a dice game) found in western saloons. It gives Vern very little to go on but in a town near the Mexican border he is able to link it to a legendary woman named Altar Keane (Marlene Dietrich). Altar runs a "hole-in-the-wall" type outlaw sanctuary and Vern gains admission by helping her boyfriend Frenchy Fairmont (Mel Ferrer) break out of jail. There is immediate chemistry between Vern and Altar. She explains to him her rancho's "no questions" rule and introduces him to a group of outlaws who use the place as a base of operations, kicking back a percentage of their loot to Altar. A couple days later Vern knows that he is in the right place when Altar puts on Beth's brooch. The remainder of the film concerns Vern's attempts to deduce which of the resident outlaws is Beth's murderer. Throughout the film, voice-over commentary is provided by a Frankie Lane style ballad, which would be nicely satirized by Nat King Cole in "Cat Ballou". The film also inspired a parody of Dietrich in "Blazing Saddles". Then again, what do I know? I'm only a child.

Martin Bradley Fritz Lang's superlative western teeters dangerously on the edge of campness, (it's that infernal 'Legend of Chuck-a-Luck' ballad pounding away on the soundtrack, continually reminding us that this is a tale of 'hate ... murder and revenge'). Then, of course, there is that great gay icon Marlene Dietrich, looking extraordinary at fifty one as Altar Keane, boss of the outlaw hideout Chuck-a-Luck where Arthur Kennedy comes seeking the man who killed his girl in a robbery. In many respects the film is a perfect companion to Nicholas Ray's not dissimilar "Johnny Guitar", made around the same time and both featuring dominant women and weaker men and both dealing explicitly with 'hate, murder and revenge'.This is a very tight piece of work, thematically dense and psychologically astute and directed by Lang in a truly classical style. It affords all the pleasures that a really good western should while still falling perfectly within a milieu recognizable from many of Lang's American works. "Johnny Guitar's" veiled lesbianism together with Nicholas Ray's growing reputation may have given it the edge but this, too, is a remarkable film, an essential work by one of the cinema's greatest directors.