Alicia I love this movie so much

Evengyny Thanks for the memories!

Greenes Please don't spend money on this.

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

LeonLouisRicci The Combination of an Early Audie Murphy Vehicle and Director Budd Boetticher's First Western make this a Must See for Genre Fans. Budd and Murphy do not disappoint.Mounted in Technicolor, a Good Supporting Cast, and a Rousing Score, this is a Solid Bit of Entertainment Complete with the Director's Crisp Action and Unconventional Inclusions.Admire the Decision to have an African American Portrayed as an Admired Family Man (Frank Silvera) with not a Hint of Exploitation or Stereotype. Check Out that Railroad Turnstile Scene (has there ever been another) Shot with an Attention to Detail. Also Notice the Strong Female Mexican Character (Yvette Duguay), as Important and Cunning as any of the Gang, and Absolutely Beautiful.These Slightly Off-Track Ingredients, and His Mastery Showcase of the Camera, Lighting, and Action Scenes, show why the Director would soon become Legendary Teaming Up with Randolph Scott to make a Series of Westerns that are Considered some of the Best of the Decade.There are Scenes with Actors in the Foreground in Nothing but Shadow, Faceless and Baroque. Take a Look at the Gun Battles and the way Botteicher makes them a Rapid Fire Standout, Realistic, although Heightened, with Visual Flare.Murph also Shows just how Photogenic He could be, Displaying Baby-Faced Features that Hide His Strong and Steely Interior. He Captures the Frame even when Surrounded by a Gaggle of Gang Members.Overall, this is as Attractive and Action Packed as any Western of the Period and can Hold its Own with the Best of the Early Fifties. Note...Look for an almost unrecognizable, bearded, red-haired Hugh O'Brian as a nasty villain, appropriately named Red Buck.

classicsoncall This picture combines elements from the real life exploits of the Dalton Gang and outlaw Bill Doolin, but if you do an internet search on The Cimarron Kid, all you get are references to this movie. I was surprised to see how quickly the Daltons faded from the story, but the events of their raid on Coffeyville, Oklahoma were portrayed fairly accurately. The historical Bill Doolin rode with the Daltons for a while, but whether he was with them on the Coffeyville run remains a matter of conjecture.Be that as it may, this Western is about par for the course for Audie Murphy's movie output. He played both heroes and villains in his pictures, trading on the personal popularity he gained as a real war hero during the Second World War. I don't think you'll find many reviewers who would call him a great actor but he managed to entertain well enough, and that's about the most one can expect from films like these.The puzzler for me in this film was why Murphy's character turned to a life of crime after being exonerated and recommended for parole over his associations with outlaws like the Daltons. His character was one that could have swayed either way, so when he goes the bad guy route I felt the film makers missed an opportunity. A scene I thought was pretty clever was the one in which Carrie Roberts (Beverly Tyler) wrangled an engagement ring out of the Kid when she wasn't even trying. Seems like Dad Roberts (Roy Roberts) was pretty much OK with it too.Now I've seen Hugh O'Brian in outlaw roles before but giving him red hair and a red beard was a bit much, wasn't it? I guess it had to do with his character's name, Red Buck. On hand as a foil to Bill Doolin's position in the gang as nominal leader after most of the Daltons get wiped out, Red doesn't make it out of Rigby during the shootout there. Speaking of which, the inclusion of that railroad turntable was a neat distraction since it had nothing to do with the outcome.Well, the real life Emmett Dalton survived the Coffeyville Raid and after serving prison time, wound up going to Hollywood to consult on films like "When the Daltons Rode". He was given short shrift in this story because the only Dalton survivor in this one was Dynamite Dick (John Hudson) who wound up double crossing Bill Doolin. Sometimes you just can't trust a fellow outlaw.

oldblackandwhite The Cimarron Kid is a tightly-made, action-packed, very entertaining Western of the Oklahoma outlaws sub-genre. It is well directed by Bud Boetticher, generally well acted, pleasingly scored, and beautifully filmed in three-strip Technicolor. Costumes, gun leather, railroad equipment and sets are quite authentic looking for the late 19th century era. The the outdoor locations, though actually California, were well chosen to look suitably like Okieland. As an added bonus, there are lots of period railroad equipment, with a shootout in a rural roundhouse one of the rousing action scenes.There is not really much to find wrong is this little oat burner, except for Audie Murphy's awful acting. Let's face, a wooden cigar store Indian with a microphone implant could do little worse. But even that serious handicap is overcome by Boetticher's skillful direction and a creative script that concentrates on the interesting supporting cast of characters, especially Noah Berry, Jr.'s Bob Dalton, and the love relationship between Bitter Creek Dalton (James Best) and Cimarron Rose (Yvette Duguay). This device happily keeps the camera away from Murphy's frozen features for most of the screen time. Yvette Duguay, though only fourth-billed, actually steals the show as the outlaw gang's resourceful gun moll. Pretty, exotic, lively, and sexy, she is more interesting and appealing in every way than Audie's ho-hum love interest, second-billed Beverly Tyler. Good support is also contributed by veteran character actors Roy Roberts and Leif Erickson. Altogether a very satisfying little Western. Better than some of the bigger productions from the same early 1950's era and certainly superior to any of the pretentious plates of tripe passed off as Westerns today.

MARIO GAUCI This emerges as a pretty good example of the typical Audie Murphy Western vehicle – though of lesser quality to the only one I had previously watched, NO NAME ON THE BULLET (1959) and, being Budd Boetticher's first Western, clearly a minor effort in his canon. Many films of this era treated (in a heavily romanticized manner) the exploits of famous outlaws of the Old West: Murphy appears as Bill Doolin and, at one point, he is told by the leader of The Dalton Gang that "They'll be writing ballads about us" and, sure enough, their exploits were later immortalized in music by the Country Rock band Eagles in "Doolin-Dalton", a song off of their second album "Desperado" (1973). Typically, Murphy is seen forced into a life of crime by circumstances or, more precisely, the persecution of a law-enforcement officer (while another, played by Leif Erickson, is more sympathetic to his plight). As ever, the gang is an eclectic assortment of characters: affable Noah Beery Jr. is their leader, Hugh O'Brian the red-headed hot-tempered challenger, James Best the ladies' man, Frank Silvera the half-breed, etc.; interestingly, we get a couple of romances going on (Murphy with the daughter of a man who shelters them and Best with a fiery Mexican girl) and the female characters are surprisingly strong for this type of film. Reassembling themselves in the wake of a bank hold-up gone awry (the film's best action sequence, climaxing in Beery's memorable come-uppance with the spilling coins a graphic substitution for blood), the gang is subsequently betrayed by the 'inside man' in a train robbery they try to pull off. Murphy is eventually persuaded to give himself up, with Erickson promising him a fair trial this time around. Shot in pleasant Technicolor, the generically-titled THE CIMARRON KID serves up compact, pacy and unpretentious entertainment – perfect viewing after a hard day's work.