Glimmerubro It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Cheryl A clunky actioner with a handful of cool moments.

masonfisk A 1951 Western from Henry Hathaway starring Tyrone Power & Susan Hayward whereby a group of men hold hostage an employee & passengers at a stagecoach depot awaiting to rob an impending gold shipment. Shot in black & white & scripted by the always reliable Dudley Nichols (he wrote a few pictures for John Ford) this ultimately original take on a Western is by turns gripping & gasp inducing w/a satisfying ending on the horizon.

thatolddotfeeling In times past, if Alfred Hitchcock were ever to have made a western, "Rawhide" would of fit the bill. Following the first ten minuets (the hook) of the film the conflict and anxiety never lets up. If you are a lover of the American Western, "Rawhide" is a must see.

JohnHowardReid Hugh Marlowe and Jack Elam make a marvelous pair of villains and they have some splendid confrontations here. The scene in which Marlowe knocks a glass out of Elam's mouth is a classic. Hathaway's driving direction makes the most of the suspenseful script. Location filming is a terrific asset. Violence rivets the attention. The cast rates as first-class, though Miss Hayward's odd hair style is a distraction and we hate the soggy, typical Hollywood revelation about the child. Fortunately, it's not particularly important. I also loved the music score and the off-screen narration.Many years ago, the director of a stage play fell ill just before rehearsals were due to commence. The producer asked me to fill in as director. Fortunately, the actors had already been selected, so the first thing to do was to hand every one of them a copy of the play. They all rushed away and I settled down with the stage designer to discuss moving the Third Act from the dinner table to a large drawing room which would incur no expensive or distracting extras like food and drinks. We'd hardly got started on this discussion before the actors started to trickle back, one by one or two by two. Within an hour, the whole lot of them surrounded me. When I asked them how they had enjoyed the play, it soon became obvious that not a single one of them had actually read the play from start to finish. All they'd looked at were their own roles! Amazing, but true! So that, I figure, is how Ty Power – who was then Fox's top-ranking star – became involved in Rawhide. Ty has a sizable part, yes, but it's a rather colorless role. Just about everything he does or says is overshadowed by other members of the cast. In fact it often appears that the sole function of Ty's character is to feed lines to – and provide "business" for – the other players, particularly Jack Elam, Hugh Marlowe and Susan Hayward. In fact, even actors with much smaller roles such as Edgar Buchanan benefit from Ty's feed. And it's little Judy Ann Dunn who figures as the "star" of the climax rather than Ty or any other player. As one reviewer commented, Ty played a bumbling greenhorn from first to last. No wonder the movie was not popular with the masses! I feel sad that it failed at the box office. For me, it rates as one of Henry Hathaway's best films. And it certainly provided Jack Elam with the number one showcase of his entire Hollywood career! If it wasn't for the fact that Ty is a natural to supply all the other characters with a superb listening board, and that his actions and dialogue provide them with such engrossing opportunities, he could actually be written out of the movie without doing it any damage whatsoever. Available on an excellent Fox DVD.

satwalker99-1 One earlier reviewer remarked on the theme - the only music at the opening & closing. I agree with his comment on the studio's invidiousness about the music credits - I have been provoked several times when trying to pin down recordings or sources & failing to find the truth. This theme from "Brigham Young" which coincidentally starred the Canadian Dean Jagger ( one of Hollywood's scene stealers & Oscar winner from another Hathaway winner, "12 O'Clock High") was used again by Fox for the similarly gritty "Yellow Sky". It almost seems the studio favoured repeated themes, possibly the most familiar being Alfred Newman's evocative "Street Scene" was used in several films noires & I think,included in one of a series of LPs in the 70s of compilations from famed classics by Charles Gerhardt & the NPO as well as a promo CinemaScope music short featuring Newman & his full studio orchestra released to support the UK Premiere of "Young Bess". Another theme for which I cannot trace a recording used originally throughout Hathaway's "House on 92nd St" & "Street With No Name" featuring a young Widmark reprising his giggling villain & Lloyd Nolan as Inspector Briggs which I can only call the FBI march ( also used briefly at the close of "13 Rue Madaleine"). I have remarked elsewhere on the iniquity of wrongly crediting Adolphe Deutsch with all the music for Billy Wilder's "The Apartment" when the compelling main theme was one "Jealous Lover" composed by Charles Williams(1949) who has contributed popular themes to several British films of the 40s. (This point is included in the trivia listing by IMDb for this movie.) 8 out of 10 for "Rawhide" which I thoroughly enjoyed & is one of my more memorable westerns.Spunky Susan Hayward remains one the screen's delectably desirous redheads and not just a pretty face as she proved in the harrowing biopic "I Don't Want To Die!" The manner of her premature death was another of Hollywood's tragedies & a sad loss.