zardoz-13 "Virginian" star Joel McCrea displays his virile charisma as legendary frontier lawman 'Bat' Masterson in "Fort Massacre" director Joseph M. Newman's an above-average but often predictable "The Gunfight in Dodge City," that Walter Mirisch produced a couple of years after John Sturges' superlative shoot'em up "Gunfight at the O.K. Corral with Burt Lancaster and Kirk Douglas. Mind you, "Gunfight at the O.K. Corral" was casual about its fidelity to facts, and "Two Guns and a Badge" scenarist Daniel B. Ullman and "Fort Massacre" scribe Martin Goldsmith are just as guilty. Indeed, Dodge City, Kansas, existed, and there was a 'Bat' Masterson as well as an Ed Masterson. However, Ullman and Goldsmith have altered the circumstances around Ed's unfortunate demise to stimulate conflict on our hero's motivation to eliminate the culpable adversaries. The production values are better-than-average, and the cast features several familiar faces, even those lurking on the periphery. Look for Robert Mitchum's younger brother John, for example, as a boisterous cowboy eager to whoop it up. Aside from seasoned western veteran Joel McCrea, the cast includes John McIntire, Richard Anderson, James Westerfield, Walter Coy, Don Haggerty, and the always dependable Harry Lauter as Ed Masterson. Basically, aside from the general facts, "The Gunfight at Dodge City" amounts to a dusty, standard-issue horse opera about the taming a wild cattle town and the evils of killing. Newman confines the action to a trim 81, so neither it nor he wear out their welcome. "Shoot-Out at Medicine Bend" lenser Carl E. Guthrie deploys his Cinemascope lens for the best effect, and this western looks better than it deserves. Western aficionados will notice that our hero is caught between the two typical women--the saloon girl and a preacher's daughters--and the outcome clashes with what usually occurs in a western. If you enjoy westerns, you'll find that Newman handles with clichés with competence.

drystyx This is old formula Western, which of course is better than the new formula crap that was shoved down our throats from about 1965 till about 2000, whether we liked it or not.This was made in the days when the characters in the Westerns were written to look like mature grown up people who knew what rugged life was about. Lets face it. The spaghetti westerns ruined the genre for a quarter of a century, because the characters came across like spoiled brats who never walked outside of an arcade room.This Western is loosely about a fictional part of Bat Masterson's life. It would be better if it wasn't Bat, so we could accept the plausibility of the story, but that doesn't matter. This story is certainly more feasible than the "Tombstone" version of Wyatt Earp.What sells the story is the characters, the good and the bad guys. The two bad guys are very three dimensional. One is a little loco, so his fate is understandable.The final gunfight with the more rational bad guy at the end was what weighted this down. At the end, we see a change in the bad guy, not that he's good, but that he's somewhat alert to the changing of the times. I thought the final gunfight was contrived, and it would've been better with a more toned down ending.Still, it is the characters that make this worth watching.

Robert J. Maxwell Average inexpensive Western.Joel McCrae is Bat Masterson, saloon owner and now sheriff, newly elected to put an end to the cowboys who come to town on weekends to hoorah the place and frighten the dickens out of the good folk, like Doc John McIntire and Julie Adams, the purty preacher's daughter.It resembles so many other routine Westerns of the period that they're all jumbled together in my head so I think I'll skip the details of the plot. They're not important anyway. You'll have no trouble distinguishing the good guys from the bad guys after the first few minutes. This isn't the kind of movie that humanizes either the hero or his enemies. Ambiguity? Streng Verboten! As for that titular "shoot out", McCrae has just been "called out" by his evil rival for the sheriff's office. Julie Adams begs him not to go. "I don't want to go," he replies, "but I've got to. That's the difference between an animal and a man." Something like that anyhow. Maybe it was, "A man's gotta do what a man's gotta do," or, "Some things a man can't ride around." He confesses to being scared but I don't know why. The two rivals walk towards each other down the dusty and deserted street. "You call it," one of them says. And BANG and you-know-who is lying on the ground. It's all over with in about two minutes.The real Bat Masterson had nothing to be afraid of. Maybe he didn't wind up with the breathtaking Julie Adams under the same blanket, which is too bad for him, but he did act, I think, as Time Keeper at some heavyweight championship boxing match, didn't he? I believe there is a photo of him at ringside. He's wearing a derby.Joel McCrae didn't do badly either. He made his exit after a splendid early Pekinpah movie and spent his adult life married to the estimable Frances Dee. He seemed like a nice guy too and deserved his decent career.

Panamint Technically well-made, first-class production values, viewed wide-screen it is impressive. As a legitimate effort from the grand days of the Western film, it doesn't deserve its near-forgotten status. However, despite good acting by McCrea and especially by Julia Adams this movie suffers from being a bit too formula overall and too superficial in its psychological aspects.The way Masterson rides back to town in the end and faces everything is very manly and should have more impact. McCrea was certainly an actor capable of delivering such an impact. But the director has made this with a glossed-over style as if he is just skimming the surface, rather than with cinematic impact in mind. See the classic "High Noon" for such an ending done more effectively.Many psychological westerns are successful, however this one has so little psychological conflict between the protagonists (Masterson and the first Sheriff) that the result is merely a formulaic western punch-out relationship between the good guys and bad guys.Julia Adams delivers a fine acting performance. She and McCrea do a great job. Their performances are really the chief reasons for you to watch this. McCrea was a subtle and effective actor, and here he foreshadows his work in the legendary "Ride The High Country" a few years later.