rdoyle29 Sam Fuller's directorial debut is more of a character study than a traditional western. John Ireland stars as Bob Ford, who kills his friend Jesse James in order to get immunity for his past crimes so that he can settle down with the girl he loves. Wracked with guilt and feelings of inadequacy, Ford pursues the girl in the face of a rival for her heart. Fuller hasn't fully developed his dynamic style yet, in fact, this feels more like a low budget Nicholas Ray film than a Fuller film. A scene where Ford forces a dude to sing the ENTIRE song about Jesse James being killed by "that coward Robert Ford" is priceless and worth the price of admission.

Kirpianuscus it reminds the Biblical stories. or damned characters of Dostoievski.in fact, it is an inspired western, proposing a hero, a coward mate and the fall of dreams, a show as remind of guilt and the public contempt. a film who did not demonstrate anything. only gives a large picture about gestures and fragile and obscure border between bad and good. and this transforms "I Shot Jesse James" more than a B western but a demonstration about values and expectations and illusion and friendship. the noble Jesse James and the knavish Ford. a story with moral veil who remains nice demonstration about limits and falls.

Michael_Elliott I Shot Jesse James (1949)** 1/2 (out of 4) Fuller's directorial debut takes a look at the life of Bob Ford (John Ireland) after his cowardly killing of Jesse James. Ford is in love with a woman (Barbara Britton) but goes out West to try and make some money but what he doesn't know is that she's in love with another man (Preston Foster). The story of Jesse James in Hollywood has always been an interesting one because a lot of movies look at him as some sort of good guy when in truth he was pure scum who killed women and children. How this guy ever got to be looked at as a hero is beyond me but it's probably the same way Ford became a coward. People have debated on what Ford was but there's no question this Fuller film shows him as a weak coward and it even changes the ending of history to make him go out in a different way. This is technically a very well made film but at the same time there are quite a few problems with the screenplay. For starters, the movie seems to be hit and miss in regards to what it's trying to say. I didn't care too much for the way James was shown because they made him look and sound like one would expect Abraham Lincoln to come off. I'm not sure why they built Jesse up so highly just to change things around on Ford. The film seems to want to show Ford for a coward yet the screenplay goes off in different directions as to center on other aspects of his life and it's the later stuff that makes the film swing off track for me. With that said, the amount of talent on display here by Fuller can't be questioned. The visual style of the film is wonderful and he handles the action quite well. The psychological stuff comes off pretty well especially the scene right after the murder when Ford enters a bar only to have people looking at him differently than he expected. Ireland is very good in his role as is Foster. The two men work extremely well together and make the film worth seeing. There are many, many film dealing with this subject and while this one here isn't the best, there's still enough here making it worth checking out.

OldAle1 Few DVD releases this year so far have been more exciting to me than this issue of Criterion's Eclipse series, consisting of Sam Fuller's first 3 films. Fuller is, no question, one of the great American originals, completely inimitable (and perhaps indescribable, at times). This, his first feature, opens on a stark tableau: bank robbers and bank employees, tensely standing each other off, the robbers hesitating to shoot while the tellers try to waste their time. A signal is tripped, a siren blares, a shootout occurs, a bandit is wounded and a teller killed -- all in less than a minute. Jesse James and his henchman Bob Ford escape, James saving Ford's life and in typical Fuller fashion, foreshadowing his own doom as he tells Ford that now he's "responsible" for him.This has little to do with what is known of the real James and Ford brothers; it seems pretty hard to believe that rural/western born Jesse was the cultured gentleman he acts in the early part of this film, and the later scenes of Ford and John (later Marshall John) Kelley bear scant resemblance to the historical record; no matter though if you're more interested in the taut, exciting storyline that Fuller has crafted. Jesse lasts just a few minutes on screen, and then it's Ford's turn to play on our sympathies as his cowardly actions haunt him for the rest of the film, and he tries to no avail to redeem himself in the eyes of his sweetheart, Cynthy, who we know instinctively will wait for him -- only so far.Many of Fuller's trademarks are already in place: hard-bitten dialogue (though not so outlandish and over-the-top here as it would be in some later films), fairly heavy use of wide-eyed close-ups, and an in-your-face, blunt yellow journalistic style that on first glance may seem to admit little subtlety. Poke around a little though and you'll find a lot of complexity in the character of Bob Ford, especially, and a fairly ambiguous attitude about both vigilantism and honor. The acting is surprisingly solid here given Fuller's penchant for picking hammy players, though only Preston Foster as Kelly seemed entirely at home.