Death of a Gunfighter

1969 "Marshall Patch... he lived by the law of the gun..."
Death of a Gunfighter
6.2| 1h34m| PG| en| More Info
Released: 08 May 1969 Released
Producted By: Universal Pictures
Country: United States of America
Budget: 0
Revenue: 0
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Synopsis

In the turn-of-the century Texas town of Cottownwood Springs, marshal Frank Patch is an old-style lawman in a town determined to become modern. When he kills drunken Luke Mills in self-defense, the town leaders decide it's time for a change. That ask for Patch's resignation, but he refuses on the basis that the town on hiring him had promised him the job for as long as he wanted it. Afraid for the town's future and even more afraid of the fact that Marshal Patch knows all the town's dark secrets, the city fathers decide that old-style violence is the only way to rid themselves of the unwanted lawman.

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WernerBx1946 Nothing was filmed in Old Tucson, Az. as stated in the filming locations. This the great Universal back lot set. You can't miss the stable used in this & any many other films. Old Tuscon has a completely different look to the streets and church. Look up the filming credits for Old Tucson.
Jeff (actionrating.com) Skip it – The 70's weren't kind to westerns, and this is no exception. I am taken aback by how many western buffs consider this to be a classic. I found it to be one of the most boring and pointless westerns I've ever seen. An aging Richard Widmark plays a sheriff in a turn-of-the-century town hell-bent on modernization. Perhaps it is a profound film in the sense that it is a good picture of a man who had trouble changing with the times. But it has a totally different feel than any of the other classic westerns. Unique movie, yes. Good western, no. There are plenty of unique westerns out there that are much, much better. 1.5 out of 5 action rating.
tavm In continuing to review African-Americans on film and television in chronological order for Black History Month, we're now at 1969 with Death of a Gunfighter with Lena Horne in her only straight role though you do hear her recording of the song, "Sweet Apple Wine" in the beginning and end credits. Though she's billed above the title with Richard Widmark, her role of Claire Quintana is very much a supporting one that's mainly there as one of the few people who stands by Marshal Frank Patch (Widmark) as the townspeople are fed up with his violent ways of dealing with justice. Also among the supporting cast are Michael McGreevey as Dan-a young man who also likes the marshal, Darleen Carr-sister of The Sound of Music's Charmian Carr-as his girlfriend Hilda, Jacqueline Scott-probably best known as Richard Kimble's sister Donna on "The Fugitive-as the widow, Laurie Mills, of the first man killed by Patch at the beginning of the movie, Harry Carey, Jr. as Rev. Rork, John Saxon as county Sheriff Lou Trinidad who tries to get Patch to get out of town peacefully, and, in a nice surprise from his later role as Archie Bunker, Carroll O'Connor as the bar owner, Lester Locke, who bides his time in letting other people get Frank before he himself tries. Many of the cast I just mentioned and lots of others I haven't contribute great tension as the film chronicles the last days of the Marshal. Horne acquits herself nicely with her few scenes and it's nice seeing her and Widmark kiss at their wedding especially when one knows that Widmark played a racist opposite Sidney Poitier in his movie debut, No Way Out (1950). Love the music score, by Oliver Nelson, and direction especially many of the close-ups. That direction, by the way, was credited to one "Allen Smithee" which is the name used when the real director doesn't want his own name used. In this case, they're Robert Totten-who had "creative differences" with Widmark, and Don Siegel-who had filmed the actor previously in Madigan. This marked "Smithee's" feature film debut. All in all, Death of a Gunfighter was another pleasant surprise for me.
bengleson There are some pleasant and perceptive touches to this parable of the passing of the old west and the inevitability of the arrival of civilized society. This film mirrors at least two other films from 1969, BUTCH CASSIDY AND THE SUNDANCE KID and THE WILD BUNCH. All three films try to capture the sunset of their anachronistic characters. Pike Bishop and Frank Patch have much in common. There is no room for them anymore in the West they knew. Bishop and Butch and Sundance light out for sunnier climes only to meet explosive endings. Frank Patch sees himself as a force for stability, a safeguard against primal urges that simmer on the surface and are kept in check only because he is the law. He underestimates the political climate of his town and the passion the town burghers are willing to unleash to remove him from office. Rather then move on, he is compelled to stay. I would especially like to recommend the pastoral scene where the local politicos convoy out to the fishing hole where Patch and young Dan are spending the day. It is a beautiful composition.