Directed by Leslie Selander
Produced by Scott R. Dunlap
Associate Producer: Edward Morey, Jr.
Screenplay by Adele Buffington
Adaptation by Tom W. Blackburn, from Curtis Bishop’s novel Shadow Range
Photographed by Harry Neumann, ASC
Film Editor: John C. Fuller, ACE
Musical Score and Direction: Edward J. Kay
CAST: Edmond O’Brien (Ben Anthony), Helen Wescott (Linda Garnett), Bob Lowery (Harry Odell), Barton MacLane (Marvin Parker), Peggie Castle (Melba Sykes), James Millican, Robert Wilke, Raymond Hatton, Tom Tyler, Jack Ingram.
When the series Westerns were put out to pasture in the early 50s, Monogram became Allied Artists and shifted from series Westerns like The Long Horn (1952) with William Elliott to Westerns like Cow Country (1953). These films have the feel of series cowboy movies executed on a larger scale — bigger casts, better sets, about 20 minutes longer. There’s still the slimy banker, the plot to snatch land from the smaller ranches, lots of riding and shooting and bad guys like Barton MacLane and Robert Wilke. You’ve seen it all a thousand times, and it’s just as welcome in this form as it was before.
So while there’s nothing particularly new about Cow Country, there’s nothing to dislike about it, either. The plot’s a little convoluted, but you’re familiar with it. The area cattle businesses is in a bad way, and Bob Lowery, Barton MacLane and Robert Wilke are trying to take their land away. Edmond O’Brien runs a freight business and ends up being the hero. There’s a love triangle between Lowery, Helen Westcott and Peggie Castle. And, boy, do a lot of people get shot.
O’Brien looks cool in a Levi jacket with his hat slightly cocked to one side. He didn’t make many Westerns, and his Bronx accent seems a little out of place, but he’s such a great actor, it works like a charm. He didn’t make many Westerns; I recommend Silver City (1951) and Denver And Rio Grande (1952) — and he’s remarkable in The Wild Bunch (1969).
Peggie Castle is known to B movie fans for turning up in about every genre you can think of, and looking terrific in them all. Here, however, she gets a part that lets her show what she’s capable of, and she’s very good. Whatever it was that kept her in low-budget movies, it wasn’t her acting ability. Her big scene here, where she goes after Lowery with a bullwhip, is very satisfying.
Cow Country gives James Millican a good part as an immigrant farmer, and Robert Wilke gets more screen time than usual — he’s a real slimeball in this one.
Leslie Selander could direct a film like Cow Country in his sleep, with this one coming hot on the heels of those wonderful Tim Holt Westerns for RKO. It moves so quick, and plays so smooth, that you never have a chance to think that you’re watching a clever variation on something you’ve seen many, many times before.
Cow Country is not available on DVD, but Allied Artists pictures turn up from Warner Archive. Watch for it.