Ketrivie
It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.
Roman Sampson
One of the most extraordinary films you will see this year. Take that as you want.
Brenda
The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one
JohnHowardReid
Producer: Robert Fellows. Copyright 6 October 1944 by RKO Radio Pictures, Inc. New York opening at the Palace: 14 December 1944. U.S. release: 29 September 1944. U.K. release: 7 May 1945. Australian release: 12 April 1945. 8,000 feet. 89 minutes.NOTES: Wayne's fist association with producer Robert Fellows with whom he was later to form Wayne-Fellows Productions. Wayne liked the script of this one (co-written by actor Paul Fix) so much he tried to persuade John Ford to direct. Although Ford declined, some members of the Ford stock company, notably Ward Bond and Russell Simpson, were signed on for the cast.COMMENT: One of Wayne's best westerns, with plenty of vigorously staged action, an intriguing plot, lots of interesting characters, loads of atmosphere, and an agreeably honed characterization for the Duke himself. It's tempting to say what a pity Ford knocked back this assignment, but Marin has actually done quite a super job. Of course he was helped no end by experts like Theron Warth (a graduate of RKO's film editing department, making his debut here as associate producer) and cinematographer Robert de Grasse.It's good to see Wayne re-united with some of the players from his early 30s career, most notably ultra-smooth villain Ward Bond, rough-house heavy Harry Woods, cowardly off-sider Paul Fix, helpful barkeep Cy Kendall and most particularly George Hayes, a real audience-pleaser here in a made-to-order role as a cantankerous, woman-hating stagedriver. (Wayne is also introduced as something of a cynical misogynist. "I never feel sorry for anything that happens to a woman," he answers an early leading question from Hayes, to that driver's surprise and evident delight. But his attitude noticeably softens later on in the presence of both ultra-feminine heroine Audrey Long and more masculine Ella Raines).Elisabeth Risdon's remarkably forceful performance as Miss Martin deserves special praise. We also liked Emory Parnell's blustering sheriff and Walter Baldwin's slovenly coach-stop man. In fact, all the characters are most skilfully played. Although Wayne rightly dominates the action, at more than one stage there are so many interesting characters jostling around in the background, they threaten to spill off the screen.Production values are A-1. In short, a first-class western.OTHER VIEWS: Exciting, fast-paced western, with a brilliant opening sequence, a delightfully aggressive heroine, fine photography, and a script that is as rich in characterization as in action and originality. Wayne has one of his best roles as the charmingly gutsy if somewhat cynical hero.
stuart-432
The entire cast of this film are as near to flawless in their performances as is possible. Marin's direction, the writing of Fix and Hogan... it is all drawn together to deliver a very special experience for those of us lucky enough to enjoy it.The word "masterpiece" is over-used, so I will simply remark that this film is something special. It is difficult to envisage it working in any other setting than the American west. It is a "western"... but oh so much more as well.Gabby Hayes delivers a performance which can only be described as "iconic". For someone who many say could not act, John Wayne's portrayal of a man with hidden wounds as he boards the stage with Gabby Hayes at the beginning of the film is subtle and under-stated but very, very good. For those who wonder what I am blathering about, consider the line "I never feel sorry for anything that happens to a woman." The dialogue throughout is first rate and where else could you see a thoughtful John Wayne in an apron, kneading dough ? Ella Raines's entrance into the story is packed with power and intensity... and she never lets up for the rest of the film. A memorable performance. There are extraordinary depths to this film. It seems to me that the writers and the director were well acquainted with how humankind can get it "wrong". There are no really "bad" people in this film... just people who, through weakness, delusions about who they are and what they are entitled to... mess up their own lives... and the lives of others. Note that these people tend to be "professionals"... with definite hints of accountancy or legal qualifications. They've missed "the point" and all that life has to offer.Like all great films, it is clearly a team effort... and when they made this one, boy did they have a team.
disdressed12
i thought his was a pretty good John Wayne film.sure,a lot of the movie is typical of most westerns in many ways,but in other ways,it isn't.for example, i thought the story was a bit more fleshed out and interesting,and there is an air of unpredictability to it.there is not as much action as many of Wayne's films,but there is enough to satisfy.of course,there is some humour involved,and just like many westerns,there's a mix of odd characters,which i liked.this is not an epic film,by any means,but it's not supposed to be.the movie kept me interested right to the end,and when it was over,i felt satisfied.for me,Tall in The saddle is a 7/10
dick lillard
Several things make this B western look and act like an A picture. Not least is the obvious 'chemistry' between Wayne and Ella Raines.For once a female dishes it out and Wayne loves it. But, the most important aspect of this film is the characterization Wayne imbues in his role as 'Rocklin', a somewhat mysterious cowpuncher. He seems able to make men stop in their tracks by a certain glare or tone of voice. He is no longer a sweet natured cowpuncher who somehow stumbles into his predicaments.This time he's rather mean and if he can answer you in one or no words he does.In later years Wayne developed this "loner"/ "don't mess with me" type to such a degree that it has become part of movie lore.We take it for granted .This was the film where it burst full fledged on to the screen.And I believe the "macho walk" for which Wayne is so famous was displayed as never before in a showdown with his old nemesis in many 1930's films, Harry Woods. For me this was the obvious lead-in to his monumental performance in "Red River"
