A marshal tries to bring the son of an old friend, an autocratic cattle baron, to justice for his role in the rape and murder of the marshal’s Native American wife.
Kirk Douglas stars as U.S. Marshal Matt Morgan, a good-natured lawman happy to spin tales of his past exploits for a group of children outside his office, or by the same token, get as deadly serious as the situation warrants. The movie opens with Morgan’s Native American wife (Ziva Rodann) returning from a visit with her father. Spotted by a boozing Rick Beldon (Earl Holliman) and Lee Smithers (Brian Hutton), they follow, then brutally rape and murder her. Rick Beldon as it turns out is the son of wealthy cattle baron Craig Beldon (Anthony Quinn) who also happens to be a longtime friend of Morgan. When Morgan’s son (Lars Henderson) rides into town on Craig Beldon’s distinctive saddle – replete with his initials – it’s clear that something is wrong. The saddle leads Morgan to the town of Gun Hill and a confrontation with his old friend, who is intent on protecting his own son, no matter what the cost.
When first confronted by his father, Rick Beldon lies about how the saddle went missing. However, after Craig meets with Morgan, the truth becomes apparent to both men. This conflict sets the stage for the resulting narrative.
Quinn delivers a fine performance as the tough ranch boss, with a huge soft spot for his whimpering son, reminiscent of Daniel Craig’s part in “Road to Perdition.” Carolyn Jones as Linda, probably best known for her role as Morticia in the famed “The Addams Family” television series, in this earlier production, plays the love interest for an abusive Craig Beldon. Her strong-willed, yet low-keyed persona adds just the right touch to the balancing act between Morgan and Beldon that is imposed on her by circumstances.
Interestingly, Douglas performs many – perhaps all – of his own stunts. In an impressive display of physical strength, the script calls for him to hoist an unconscious Holliman over his shoulder, take him down a flight of stairs, and out of a saloon for several extended shots before securing his prisoner to a hotel bed in handcuffs. With Holliman in one hand and his six-shooter in the other, Douglas manages to pick off a couple of bad guys on his way down the stairs – no stunt man or special effects involved.
The film was directed by journeyman John Sturges, whose work boasts such timeless classics as “The Great Escape,” “Ice Station Zebra,” “Joe Kidd,” “Marooned,” and “The Magnificent Seven” to name but a few. He remains in fine form here as well, with his deft directorial touch on full display.
Though the denouement, as well as most of the action, progresses in a straightforward manner, it is the character depth and foreboding mood infused in every scene that carries the day. “Last Train from Gun Hill” represents an enjoyable excursion into a fifties Western sure to delight film buffs one and all. Kirk Douglas harnesses his formidable screen presence, demonstrating both energy and empathy in equal measure throughout. Filmed in his prime and released a year before “Spartacus,” “Last Train” is a lost gem for the ages – an able demonstration of the formidable power of the Western genre.
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