WoodrowTruesmith Hilariously inept - like "She Wore A Yellow Ribbon" remade by five-year-olds.Spoilers ahead: Despite its title, and the high bodycount, "Slaughter Trail" is in fact a musical with Injun battles instead of dance numbers.If you ever wondered what Ed Wood might have done with a B-movie budget, this film should answer your question. Some decisions may have been bad only in retrospect, such as filming in the short-lived Cinecolor process, which resulted in faces changing hue within the same shot. But there was definitely some ill-advised skimping on the film's main set, a cavalry fort that seems to be partly a Norman castle.Terry Gilkyson, who later wrote the 'The Bare Necessities' for Disney's "The Jungle Book", supplies a score full of original ditties which would have been wonderful for a cartoon but which fit Western action like a fuzzy slipper stuck in a stirrup. One song tells how "horse hooves pound, and their melody sounds, like the hoofbeat serenade"...during a dead-serious scene of a cavalry patrol. Other songs literally narrate the story shot by shot, introducing characters, describing their moods and gestures - as they happen on screen - and even stop to advertise the Cinecolor process(!) The script sends ferocious Navajos on the warpath to avenge the killing of two of their band by an outlaw trio. By the end of the film, what looks like a hundred Navajos and cavalrymen have bitten the dust (thanks to repeated footage of the same characters dying over and over.) But the chief is satisfied once he sees the trio of badguys have been slain. As the singer helpfully informs those of us who weren't paying attention, the Navajos ride away, their battle called off. The cavalry captain, surrounded by the corpses of his fallen comrades, cheerily waves his appreciation.The direction could most charitably be described as wooden, or more to the point, Wood-en. Navajos are consistently shot off their horses in pairs -- never just one. Virtually every red man on foot dies by throwing his hands in the air and keeling over. The film also employs the most cautious stuntmen in Hollywood, who crouch before dropping off a one-story roof (and still fail to stick the landing) or turn to look behind them as they slide, "dead", down a rocky slope.The star is Brian Donlevy, who surely deserves an Oscar for not blushing. After the endless final battle scene -- "climax" is scarcely the word -- he scans a list of the dozens of his troopers killed, and shrugs, "It could've been a LOT worse." Trooper Andy Devine gets to sing and robber/murderer Gig Young laughs at Andy's antics...which leads a character who had been held up by masked bandits to rat Gig out: "I'd know that laugh anywhere!" And lest anyone forget just what a nasty piece of work Howard Hughes could be, recall that as head of RKO, Hughes was first in line to blacklist original star Howard Da Silva when HUAC denounced him. It would take Hughes another six years to finish running that once-celebrated studio into the ground, but it didn't help things when he insisted on reshooting Da Silva's every scene for this film, substituting Donlevy.It was nearly a decade before Da Silva was able to work in Hollywood again. But all things considered, for getting him out of "Slaughter Trail", he should have sent Hughes a thank-you note.

lost-in-limbo After robing a stage coach. Three bandits shoot some Indians for their horses and from their actions. The Indians of that area break a peace treaty and go on a war path, until they get there hands on those three men. Capt. Dempster learns of the breakdown in relationship with the Indians and tries to convince the Indian Chief that those men would be brought to white-man's justice, but they want to hand out their own justice.What makes this one stick out from the textbook examples of cheaply done Hollywood westerns is the filming device of using a rumbling ballad to link the film's generically straight-forward narrative together. It's an unique novelty and was worked in accordingly, but I did find it to get rather distractingly tiring. In all "Slaughter Trail" is an earnestly tempestuous and rugged western outing. The story's outline might have been done to death, but its still in certain patches it manages to provide a breath of fresh air to the project. A causal flowing script kicks up snappy dialogues and hammers in some amusing comical elements too. Irving Allen's zippy direction never lets the pacing get bogged down and provides some scope on its location photography. Cinecolor gives the film a suitably penetrating colour scheme and the musical score stays lively throughout. While, the final battle sequence is an excitingly well done display. The performances are pretty solid and reasonably likable from the main players. Brian Donlevy is unshakably stout as the part of Capt. Dempster. Virginia Grey is delightfully strong in her role as Lorabelle Larkin. Andy Devine is having a good time. While Gig Young and Terry Gilkyson churn out good performances too.I thought it was a curiously decent b-grade effort, but couldn't help but get that feeling. I probably would've got something more out of it when I was that kid who loved to watch cowboys and Indians. Not easy to come by, but worth a look for fans of the genre.

Doodlesweaver You know, this is CRAZY but that song in SLAUGHTER TRAIL has kept running through my mind ever since I first saw the film.If you have any other film remembrances of that movie...I'd like to hear them.I think Brian Donlevy had something so "serious" about him that it lent a "feeling" to the film and made that song a mind sticker. Anyway--it's like a miracle that other people still sing that song too.And--I remember it as well as any song from any "A" musical. So, I had to rate it as "Excellent." Gosh, why not? And, I thought I was the only one whose head it kept running around in!

Brooks-9 This film is an exciting ballad. Yes, that's right: it is a story plot with the song-track of a ballad. Quite unusual, and having its faults, the defects of one of the unique -- but still interesting -- proprietory colour film processes which came to life briefly in that decade.Besides the really super ballad-style, the direction of the plot-line and dialogue has a refreshing 'devil may care' attitude, quite contrary to the stultified over-worked techniques not uncommon with high budget studio Westerns.This Western is one for the genre collector; its pleasing uniqueness makes it so.