The film opens to George Fried’s bizarre score as Swede George Hansen walks down a dirt road in the middle of Prairie City, Texas. George is mad as hell; he means business and he’s carrying a big whaling harpoon over his shoulder to prove it. George is followed by bloodthirsty, local farmers who are mad as hell too.
They meet up with the object of their anger; southpaw gunslinger Johnny Crale (Ned Young, uncannily resembling Bogart and dressed from head to toe in black). Johnny is ready to face George and kill. Johnny taunts George, You’re a little too far away. Come a little bit closer. You wouldn’t want to disappoint your friends. They all came here to see blood. Come a little bit closer so they can see. I want to give you a fighting chance. Five steps. One step, Hansen. George hangs his head in shame. It seems this is something he cannot go through with.
Titles roll through Lewis’ typical shot of wagon wheel spokes. The farming townspeople are being bullied and driven out by local oil baron Ed McNeil. McNeil likes the finer things in life and that includes women, food, champagne and land, but the local farmers are uncooperative when it comes to their land, which McNeil wants to mine. McNeil utilizes the talents of gunslinger Johnny to get the dirty deeds done. Pa Hansen is one of those farmers, and he is murdered by Johnny. Pa’s employee, Jose witnesses the murder, but his wife wants him to remain silent. At this point, Terror in a Texas Town may seem like a formulaic plot, but underneath the surface this is a bleak film, dripping in cynical parody and that becomes apparent when Pa’s son, George, arrives in Prairie City after being at sea for 19 years. George is returning to help his Pa, until he learns the awful truth that his Daddy has been shot and killed. With no help from the townspeople, George intends to find out who killed his Pa and why. —Rbmoviereviews.com
American low-budget filmmaker Joseph H. Lewis began his long screen career editing such Republic serials as The Miracle Rider (1935) and The Undersea Kingdom (1936). Lewis was elevated to director with Courage of the West, a 1937 Universal oater that also marked the debut of crooner Bob Baker. As a director, Lewis would remain in the Western field well into the television era, earning the nickname of “Wagon Wheel Joe” because of a penchant for framing shots through the spokes of a wagon wheel. The moniker was bestowed upon him by fellow B-Western expert Oliver Drake, but unlike Drake, Lewis’ oeuvre managed to stand out in a crowded field, mainly due to careful lighting and other atmospheric touches not often considered sine qua non in low-budget filmmaking. Turning increasingly to thrillers, Lewis later directed Bela Lugosi in one of the veteran screen ghoul’s better later vehicles, Monogram’s The Invisible Ghost (1941), and even more importantly… read more
This is a kind of baroque pre - spaghetti western save the fact that it was shot in the U.S.A. and directed by a genuine American native. From the frenzied opening credits showing backwards the main scenes of the film to the final duel between a black-robed iron-handed (in the literal sense of the term) gunfighter and a Swedish whale hunter armed with a gig, this film is a masterpiece. Ja.
sterling hayden was a genuine seaman, having sailed around the world a number of times before settling in hollywood. he claimed to despise acting, only taking parts to fund his ships and voyages. not sure he ever killed any whales but he was quite a famous fisherman on the grand banks of newfoundland
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Strange B-movie western from director Joseph H. Lewis. Lewis’ masterful visual sense ups the tension in several memorable moments, unfortunately, the film as a whole slow-paced and talky much of the… read review