Karry Best movie of this year hands down!

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

SnoReptilePlenty Memorable, crazy movie

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Scarecrow-88 A well-reputed fur-trapper, Apache-scout, and frontiersman, Luther "Yellowstone" Kelly, decides to "hire on" a teenaged Anse Harper (teen idol, Edd Byrnes) against his better judgment but grows fond of the boy. Always a loner, Kelly felt (up until he meets Anse, and later Arapaho beauty, Wahleeah (Andra Martin)) he was best on his own, but Anse is a gentle-voiced, non-combative, polite young man who does what he's told to the best of his abilities. Soon, Kelly and Anse run up on the Sioux (led by Gall (John Russell) and his fiery, antagonistic nephew, Sayapi (Ray Danton)), while journeying back to Kelly's cabin (traveling through "the snake" into the "high country" of Montana (where the "springs get quite green")). Saving Gall's "woman", Wahleeah (who wishes to return to her own people), from certain death, Kelly earns brownie points and is allowed to leave (along with Anse). The Calvary (with the likes of Claude Akins and debuting Warren Oates, as well as, Rhodes Reason and Gary Vinson) want to drive out the Sioux by taking an accompaniment of soldiers through "the snake", but Kelly warns against such foolishness. Kelly, though, understands that the White Man will eventually take the land due to strength in numbers.Clint Walker is hired for his screen presence and build (the camera of director Gordon Douglas shoots Walker's Kelly as if he were a towering legend, with the expected close-ups of his non-violent, peace-desiring, conflict-weary face) more than any serious acting chops, but I never felt he wasn't adequate in the part. It isn't like Kelly needed the "method touch" or anything. Edd was probably casted to secure the teen-youth market; he is the moral compass that questions the choice of Kelly to allow Wahleeah to return to the Sioux as she clearly is held by them against her will. Kelly has that dilemma upon him…Wahleeah escapes from the Sioux, stealing one of their ponies in the night, successfully making it to Kelly's cabin. Kelly makes a stance towards Gall regarding Wahleeah; because she's still in bad health due to her past injuries, Kelly refuses to allow Gall to escort her away when Wahleeah is in no shape to travel. Sayapi is the main heavy of the film as the prideful, aggressive, hostile Sioux warrior questioning Gall's judgment and bravery, soon responsible for tragedy involving Anse (who intends to take Wahleeah to her people despite Kelly's orders to keep her in the cabin), earning Kelly's vengeance. Of course, there's the battle at the end (as expected by these kinds of western adventures) where the Sioux engage Kelly and the remaining survivors left of the Calvary with guns firing, dust kicked up, and bodies hitting the ground. "Yellowstone Kelly" is surprisingly violent, with plenty of knife and gun violence, especially when Kelly goes after Sayapi and the Sioux in his company. This wouldn't be complete without fisticuffs so Walker tolerates the heckling of Akins and Oates up to a point until he has no choice but to lay the smack to them (yep, a water trough and window are used to subdue the rude soldiers who mocked Kelly by calling him an Indian; Kelly respects Native American tribes, and he doesn't even make much of a fuss when the soldiers first rib him in a bar, but a stagecoach dust up pushes him too far).The script doesn't actually bang the patriot drum, with some sympathy towards tribes affected by White Man's colonization of their land. Russell, as Gall, follows the lead of many Caucasian actors "dressed in red face" as he carries a "man-of-few-words, pillar of strength" approach to the Sioux leader not to be disrespected and not quick to rush into anything without thinking of the consequences. There's a great scene where Sayapi seems ready to approach Kelly (against Gall's wishes) when Gall grabs him by the throat in a clinch and makes the kid fall to the ground…this tells you that Gall is in charge for a reason. Gall's built for it while Sayapi goes too far and winds up just as he does by film's end. There's something that stayed with me regarding how Kelly tells Gall to take his men and go because the land no longer treats them well…the script has a lot of this (saying that the former occupants of a land that had been there's for ages is taken from them, with White Man telling them to find somewhere else to call home).

alexandre michel liberman (tmwest) When the Clint Walker westerns showed up in the late fifties, they had to compete with the traditional actors like John Wayne, James Stewart, Randolph Scott, Audie Murphy, etc... No doubt it was hard to be a newcomer, with those guys there. That's why I missed his films, but the long wait gave me the thrill of seeing "Yellowstone Kelly" now, when westerns are so few, and we have seen most of the old ones. An unpretentious film, but with a top director, Gordon Douglas, an excellent script by Burt Kennedy, good actors like Edd Byrnes, Ray Danton, Andra Martin, Claude Atkins, and a great performance by John Russel as the chief Gall. It is a plain western story, with a sensual romance between Clint and Andra Martin, where they barely touch each other, but Wahleeah (Andra Martin) is very specific about " who looked at her" and "who she looked at" (guess!). The scenery, the music, and the action scenes, also help to place what would otherwise be a conventional routine western, one step higher.

nelliejwatson The acting is awesome in this movie. I cannot believe that it has not been put on a VHS or DVD. Clint Walker has always been one of my favorites. Just a terrific movie and I would be very anxious to own it on tape. I have seen Clint and Ed Byrnes in lots of things through the years and I know how good they are at acting, this movie is no less than perfect for them again, I have always remembered this movie since it was made but I never got but a couple of chances to view it. For several years now I have been looking for this movie on tape. Would be great to have a copy to watch when I want to. Again Clint is just a great actor and I just love to own his work. Nellie Watson, Cado Mills, Texas.

dinky-4 While filmed (in color) on a larger scale than either "Fort Dobbs" or "Gold of the Seven Saints," this is the weakest of the three westerns which teamed actor Clint Walker with director Gordon Douglas. Its chief fault lies in the tentative nature of the relationships which bind together the movie's three major characters. At first the movie seems to be about tough, experienced Clint Walker and naive, bumbling Edward Byrnes. Then the movie seems to be about Edward Byrnes falling in love with Andra Martin who may simply be using him for her own purposes. By the end of the movie, however, the movie seems to have become a romance pairing Clint Walker with Andra Martin.None of these three relationships seem plausible and none of the participants seem to have convincingly deep feelings for anyone else. The script manipulates its characters but never succeeds in giving any of them an internal life. Particularly shortchanged are the Indian characters, none of whom look "Indian" and all of whom are saddled with dialog of the "many horses have I" variety.The acting is passable but has the superficial quality of a TV show. This is not surprising since the cast largely consists of loan-outs from Warner Bros' TV series: Clint Walker from "Cheyenne," Edward Byrnes from "77 Sunset Strip," and John Russell from "Lawman." Even Andra Martin has a connection to Warner Bros' television, being married at one time to Ty Hardin from the "Bronco" series.Though this movie lacks the homoerotic undertones of "Gold of the Seven Saints," it does have a scene of sexual ambiguity showing Edward Byrnes bedding down for the first night in Clint Walker's log cabin. Both men are shirtless. (Curiously, this is the only time in the entire movie Clint displays that famous chest of his.) Clint lies face-up on his bed while Byrnes lies face-down on his. They engage in a long, disjointed conversation, all the while exchanging glances at each other. This scene follows a bit of dialog in which Walker says he'll have to make a (separate) bed for Byrnes. Byrnes says this won't be necessary, a remark which can be interpreted in two different ways.