- Menu
Side #1 --
Scenes
Theatrical Trailer
Language
English
English for the Hearing Impaired
Subtitles
Español
Français
None
Play
- Chapters
Side #1 --
1. Main Titles [2:26]
2. The Maverick Law [2:35]
3. Cattle Kate [6:08]
4. Cattle Rustling [4:16]
5. Feeling Lucky [4:53]
6. High Stakes [5:43]
7. Poor Man's Hope [2:09]
8. The Meeting [7:01]
9. A Bushwhacking [2:21]
10. There's A War Ahead [4:38]
11. Round Up [4:34]
12. Peace Is Declared [4:00]
13. Stampede! [3:40]
14. In the Pokey [4:56]
15. Jail Break [4:45]
16. Double Cross [3:07]
17. A Clean Fight [5:15]
18. The Jig Is Up [3:25]
19. Under the Gun [3:52]
20. End Titles [:27]
- Features
Includes original theatrical trailer
-
Directors
Lee Sholem
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Producers
Leonard Goldstein
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Composers (Music Score)
Herman Stein
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Editors
Miton Carruth
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Screen Writers
Herb Meadow
Polly James
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Set Designers
Russell A. Gausman
Joseph Kish
Others
Art Director - Hilyard M. Brown
Art Director - Bernard Herzbrun
Cinematographer - Winton Hoch
Composer (Music Score) - Herman Stein
Musical Direction/Supervision - Joseph E. Gershenson
No one's ever going to claim that
"The Redhead from Wyoming" is a great Western, but as a showcase for the startling beauty of
Maureen O'Hara, it's pretty darn good. The script starts out promising, with information about the "rules" of cattle rustling in this certain time and place, indicating that there's potential for a somewhat off-beat plot. And the characters, at least when we meet them, have promise, too; neither
O'Hara's nor
William Bishop's immediately settle into a black vs. white, good vs. evil stereotype. Unfortunately, the screenplay doesn't go for the unique, settling for a plot that ultimately is familiar stuff. Likewise, the characters soon lose their ambiguity, leaving it pretty much up to the actors to hold our interest.
O'Hara and
Bishop do, she because she's so unrelentingly striking visually and because her patented feistiness is alluring and he because he simply turns in a fine performance. We have less luck with
Alex Nicol, who looks good but isn't especially interesting and whose acting can't make up for that deficit.
Lee Sholem's direction is fairly routine and doesn't capitalize on some opportunities in the script, but he does keep things focused on
O'Hara, which is good. He also is aided by
Winton Hoch's dependably expert cinematography and by some good sets and costumes. ~ Craig Butler, Rovi
