Good script by Fuller adapting the Wyatt Earp tale with a female character added. That Barbara Stanwyck did the scene where she is dragged by the horse herself is amazing at age 49! Stanwyck is memorable throughout. Spectacular low-angle cinematography by Joseph Biroc. The pre-titles opening sequence is unforgettable. Fuller's decision to shoot the film in b/w cinemascope is intriguing but laudable. A major western.
(...)Fuller kennt die Qualitäten seines Stars und nutzt sie. Bonnell scheint das auch zu wissen: “You look upset". Sie daraufhin: “I was born upset!”. Die Ironie dieses Satzes, sie steht für Fuller und Stanwyk. Sie steht für den ganzen Film. Was für ein Meisterwerk!
"I never kissed a gunsmith before." "Any recoil?" Hard to fault this. I was only really familiar with Barbara Stanwyck (who stars as an influential Arizona landowner with a sort of private army of gunslingers) but she leads a fine cast and Tombstone circa 1880 is brought to the screen in superb detail, with lovingly hand-lettered signs as far as the camera can see. 80 minutes flew by and I only wished there was more.
I've yet to see a Fuller film I did not like. "Forty Guns" is a rather bleak western featuring an iconic performance by Stanwyck as "the girl with the whip" leading a gang of forty men that follow her orders. Black and white CinemaScope in all its glory and uncompromising like a true Sam Fuller movie.
Behold, the beauty of Sam Fuller with CinemaScope! A fun western, given that visceral, guttural kick that Fuller could give to anything, with so many guns-as-phallic-symbols scenes that he's practically baiting psychoanalytic film theorists. Not quite sure about the finale—although with Fuller, you can never be sure how much you're supposed to take a happy ending seriously.
Un western que se destaca por su notable fotografía en blanco y negro (como salida de un film de Miklós Jancsó o Bela Tarr) y algunos planos secuencias admirables. La historia no me apasionó, pero se sigue sin problema alguno. Aunque sea una verdad de perogrullo, tengo que decirlo: Samuel Fuller sigue siendo uno de los cineastas más grandes de Norteamérica. El opening tiene una fuerza descomunal.