Directed by Fred F. Sears
Produced by Wallace MacDonald
Story and Screen Play by David Lang
Director Of Photography: Fred Jackman, Jr.
Film Editor: Saul A. Goodkind, ACE
Music Conducted by Mischa Bakaleinikoff
Cast: David Brian (Whitey Turner), Neville Brand (Dirk Hogan), Richard Long (Roy Hanford), Lisa Davis (Kathy Phillips), Katharine Warren (Mrs. Boggs), Percy Helton (Peter Boggs), Morris Ankrum (Doc Phillips), Addison Richards (Charles Hanford), Joe Forte (Andrew Ferguson), Wally Vernon (Johnny Oakes), Paul E. Burns (Squint)
How many plot twists and double-crosses can you cram into 68 minutes? That’s something you might ask yourself about two-thirds of the way through Fury At Gunsight Pass (1956), a cheap little Columbia Western directed by Fred F. Sears.
It goes something like this: a group of bank robbers ride into Gunsight Pass. The robbery goes awry, part of the gang is captured, but the money isn’t recovered. The men of Gunsight Pass quickly become a mob, ready for a lynching. As the prisoners are being escorted out of town (to avoid the vigilantes), the rest of the gang (lead by Neville Brand) ambushes the posse, frees their cohorts and returns to town to locate the loot. With a windstorm raging, they announce they’ll start shooting civilians — one every 30 minutes — till the money is handed over.
Fury At Gunsight Pass works a bit like Allan Dwan’s Silver Lode (1954), stacking circumstance on top of circumstance and piling on plenty of suspicion and paranoia as it goes. Plenty of suspense, too. This is a well-crafted little movie.
Wallace MacDonald produced a lot of Westerns for Columbia in the 50s, including some good ones like Ambush At Tomahawk Gap (1952), The Hard Man (1957) and Return To Warbow (1958). His unit often worked from scripts by David Lang, who wrote a lot of Westerns before making his way to TV. Lang’s work here is original, very tight and economical.
David Brian and Neville Brand are appropriately shifty as double-crossing bank robbers. Richard Long is a bit wooden as one of the citizens of Gunsight Pass, though he’s good in the fight scenes. Percy Helton and Katharine Warren make quite an impression as the crooked undertaker and his wife. Lisa Davis isn’t given much to do. And, of course, Morris Ankrum is terrific as the town doctor.
Director Fred F. Sears was so prolific, cranking out one B movie after another for Columbia, it’s easy to miss his real successes among all the standard stuff. Today he’s known for Earth Vs. The Flying Saucers (1956), a picture that benefits from remarkable stop-motion animation from Ray Harryhausen, and The Giant Claw (1957), a film completely scuttled by some of the worst, most laughable special effects in Hollywood history. Sears died in his office at Columbia in November, 1957, with eight pictures completed and waiting for release. He’s one of those B filmmakers whose work is ripe for rediscovery. His Ambush At Tomahawk Gap is a real sleeper — and so is Fury At Gunsight Pass.
Cinematographer Fred Jackman, Jr. had a lot of Westerns under his belt by the time he came to Gunsight Pass: Strawberry Roan (1948), Fighting Man Of The Plains (1949) and Apache Ambush (1955), to name a few. (He was good with Cinecolor.) A tremendous amount of Fury At Gunsight Pass was shot at Vasquez Rocks, and Jackman’s black and white, 1.85 photography looks great. Columbia made frequent use of Vasquez Rocks for their 50s Westerns. (According to a quick look at Google Maps, it’s only 43 miles from the studio.) The scenes in town, during the windstorm, which make up the last 15-20 minutes of the film, feature wind machines and tons and tons of dirt. It must’ve been absolute hell for both the cast and crew.
Columbia hasn’t gotten around to putting this one on DVD, which is a real shame. It’s unusual and suspenseful — and well worth seeking out. Highly recommended.