User reviews

Man in the Saddle is directed by Andre De Toth and adapted to screenplay by Kenneth Gamet from the novel written by Ernest Haycox. It stars Randolph Scott, Joan Leslie, John Russell, Ellen Drew, Alexander Knox, Richard Rober and Guinn Williams. Music is by George Duning and cinematography by Charles Lawton Jr.

More known and rightly lauded for the series of Western films he made with Budd Boetticher, it often gets forgotten that Randolph Scott also had a long working relationship with Andre De Toth. Man in the Saddle was the first of six Western films the two men would make together, and it's a pretty impressive start.

Sometimes you see words such as routine and standard attributed to a lot of Westerns from the 1950s, and Man in the Saddle is one such film that's unfairly tarred with that brush. Not that the narrative drive is out of the ordinary, the plot essentially sees Randy as a peaceful farmer forced to get nasty when evil land baron flexes his muscles, but the zest of the action, the stunt work, the colour photography (Lone Pine as always a Mecca for Western fans) and Scott, mark this out as a thoroughly entertaining production.

Characterisations carry a bit more psychological smarts than your average "B" Western of the era. There's a four way tug-of-love-war operating that is clearly going to spell misery, pain and death for somebody, a capitalist slant that bites hard with its egotistical bully boy overtones, while the obsessive behaviour of the principal players adds another dark cloud over this part of the West. Then there is the action scenes, of which De Toth once again shows himself to be a darn fine purveyor of such directional skills.

And so, we get an ace runaway blazing wagon sequence, a stampede, a quite brilliant gunfight in a darkened saloon, a mano-mano fist fight that literally brings the house down – and then continues down a steep ravine, and the closing shoot-out played out during a dust storm doesn't lack for adrenaline rushes. Scott is once again a bastion of Western coolness, more so when he throws off the bright attire he wears for the first half of film, to then switch to black clothes that signifies he's going all bad ass on those who have caused him grief.

Undervalued for sure, both as a Scott picture and as a Western movie in general. Don't believe the routine and standard scare mongers, there's good craft here and it's a whole bunch of Oater fun. 7.5/10

Big rancher Alexander Knox has married Joan Leslie former girlfriend of smaller rancher Randolph Scott. Knox is a brooding jealous sort of man and wants Scott out the territory. He hires some gunslingers headed by Richard Rober to do the job.

Scott's a 'peaceable man' in the tradition of Wild Bill Elliott, but don't provoke him too much. But Knox is determined to start a range war out of jealousy.

It becomes an open war after Rober kills brothers Cameron Mitchell and Richard Crane who work for Scott. And the wild part is that Scott's now taken a fancy to Ellen Drew.

A previous reviewer said that Alexander Knox was miscast in a western. True he isn't a typical western actor, but a whole lot of people went west to make names for themselves of all kinds. Knox does a good job of the brooding and jealous rancher with a deep seated inferiority complex.

Now it's also true that Richard Rober is a little too nattily dressed for a villain, but that sure is a western stereotype. I think he made a very good villain in this western. Rober was tragically killed in an automobile accident soon after this picture was finished. A good career in villainy was cut short.

A lot of plot similarities to this and The Violent Men also done by Columbia Pictures a few years later. It's a good entry from the Randolph Scott western collection.

Joan Leslie loves Randolph Scott but marries wealthy Alexander Knox. The super jealous Knox isn't satisfied having Joan; he also wants Scott dead. So he hires gunmen to kill him. Scott survives the attack and is nursed back to health by Ellen Drew, who's in love with him. Once better he sets out to settle things with Knox and his hired guns. So-so western soaper has a nice cast but doesn't rise above average. Scott's fine, as is most of the cast. Hard to buy sweet Joan Leslie as hard and ambitious. This is one of those westerns where the good guy wears a bright yellow neckerchief and the bad guy wears black gloves. Watchable but forgettable.

Good yarn, nasty baddies and strong goodies with great scenery and a terrific punch up in the mountains - sorry for grandpas cabin. Randolph Scott in one of his better movies.

Some of the reviews here nearly dissuaded me from watching this film, which doesn't seem to have been screened much on British TV (certainly I was unaware of it), whereas the Boetticcher and other later Scott Westerns are shown regularly.

"MITS" compared very well indeed with these, and the plot was different to those of "stranger riding into town and trouble"). It's been remarked that Scott was a bit old for the two female leads, but that was the case in many of his later Westerns (and Gary Cooper's too). The colour photography also added to my enjoyment of the film. It was good to see Guinn Williams in a role that wasn't his "comic sidekick" one, and also John Russell as a jealous admirer. Joan Leslie's romantic vacillations were a bit unconvincing, as were the final scenes.

Unlike at least one previous reviewer, I didn't notice the differing appearances of Scott and his fight stand-in, and I doubt that cinema viewers in the early 1950s did either.

(I've just checked the date of release, and was a little surprised, as the film had the "look" of one made late in the decade or even the early 1960s.)

I'm glad that I watched it.

Man in the Saddle could be looked at as just another Randolph Scott western, but for one noteworthy difference: it's the first movie produced by Scott-Brown Productions. The rest is history, and thankfully, the gamble to leave mainstream Hollywood paid off: Randolph Scott westerns were some of the most popular movies of the decade!

The story of this one is fairly straightforward: Scottie McScottie Pants and Alexander Knox battle it out over a girl. You might think it's not a fair fight, since Scottie is a western superstar, and Alex usually plays ministers. However, Alex has one thing Scottie doesn't, and it's important: money. The object of their affection, Joan Leslie, values money and all it can buy, so she leaves Scottie for Alex. Does she ever regret her decision? You'll have to watch this ninety minute brawl to find out. It's not ninety minutes of pure fighting, of course; but the gigantic fight scene in the end is extremely impressive. Keep an eye out for Ellen Drew, Guinn "Big Boy" Williams, John Russell, and a young Cameron Mitchell in the supporting cast.

I really enjoyed this. Most of Scott's films are pretty similar, however in this one its nice to see him commit to the fight much earlier on than he normally does.

Plenty of good action and some well put together characters.

Its interesting to me that they made the head bad guy British, it set a different tone, "I don't belong here so I'll force my way'. This miss fitting gave the character strength and weakness.

The head henchman was a little lacking, good verbally but not given any great opportunities. The other independent lead henchman was also wasted a little and could have added more.

Great film :)

This film begins with a rancher by the name of "Owen Merritt" (Randolph Scott) attempting to adjust to the realization that his former girlfriend "Laurie Bidwell" (Joan Leslie) has recently agreed to marry an unscrupulous businessman named "Will Isham" (Alexander Knox) in the very near future. And although Will knows Laurie is entering their marriage strictly for financial reasons, he is also aware that she still has feelings for Owen. Because of that, he becomes even more intent to take everything else Owen has as well. What he doesn't realize, however, is that Owen isn't the type who can be bullied and he is more than capable of taking care of himself if he is pushed too far. Now, rather than reveal any more I will just say that this turned out to be an okay Western for the most part which benefited by solid performances by Randolph Scott, Joan Leslie and Ellen Drew (as "Nan Melotte"). On that note, I must admit that the relationship between Owen and Laurie seemed rather odd at times but other than that this film managed to pass the time fairly well and I have rated it accordingly. Average.

Average Scott western, at best. There're some darn fine Lone Pine vistas that aren't usually seen, plus mountain scenes from southern Sierras. That's one thing about well-produced westerns— the scenery can sustain even when all else falters. Scott, of course, is Scott, strong-jawed and humorless, carrying the film even when the congested script doesn't. The plot's pretty familiar, rich landowner taking over hero's land, along with a number of subplots. Then too, we've got not just one ingénue, but two. Leslie and Drew may be malt shop girls from the 40's but they do well enough here. I'm glad their hair color differs, otherwise they would be hard to tell apart.

I'm with those who think Rober and Knox too bland to compete with Scott. Also, I agree that Russell would have made a much more vivid villain; too bad he's wasted in what looks like a tacked-on role. And catch how easily Bedoya goes from clown to menace, even without "stinkin' badges". I really did expect sharper results from ace director DeToth. Given the right material, he can be quite affecting, as his western masterpiece Ramrod (1948) proves. As Andrew Sarris points out, few movie makers had a better feel for human treachery than the eye-patch Hungarian. My guess is he regarded the script as little more than a vehicle for Scott, though a few nice fringe touches do emerge, such as the straggler who gets in the way of the showdown.

All in all, the oater's too sprawling in both cast and story to achieve anything more than a scenic time passer.

The title is a bit of a misnomer - despite the title song - since little of the action actually takes place on horseback. It's more a tale of intrigue in a western setting enhanced by a good cast (although Alexander Knox is rather wasted as the senior villain; and soon returned to Britain).

Cameraman Charles Lawton puts his experience in film noir to good use by creating atmospheric lighting effects indoors and occasionally outdoors in rich Technicolor; while Andre De Toth's creation of compositions and action in depth utilising objects and actors within the frame amply demonstrates why - despite having only the one eye - he was soon afterwards entrusted with the 3D 'House of Wax'.

Though "Man in the Saddle" has some effective moments and a few good action scenes, it is below average for Randy Scott who usually did better. The high point of the action comes near the beginning of the movie when the cattle are stampeded with Randy trying to outrun the herd in a covered wagon that is ablaze. The shoot out at the end is much too abbreviated only lasting a few minutes. Randy doesn't even get to duke it out with the hired gunslinger Fay Dutcher (Richard Rober). What kind of name is Fay for a gunfighter? Owen Merritt (Scott) shoots Dutcher as he rolls for his gun in the street. The talented actor John Russell has a fairly nondescript role. He would have been much better cast as gunman Dutcher.

The story of a love triangle with two women Joan Leslie and Ellen Drew after one man (Scott)is at times overplayed. Exactly what Owen's relationship was with Laurie Bidwell (Leslie) before she married Will Isham (Alexander Knox) for money and power is never revealed. Apparently the two had one hell of a relationship the way it still tugs at their heartstrings and is the continued buzz of the town. The hired gun is not just after more ranch land for his boss but after Owen as well.

Alexander Knox who played President Woodrow Wilson magnificently in "Wilson" several years earlier was thus typecast and unable to find himself in other parts. When he played the boss rancher in "Man in the Saddle" he was still trying to find his way after Wilson. Alfonso Bedoya and veteran cowboy actor Guinn 'Big Boy' Williams do well in the comedy department. Bedoya is a good foil for Big Boy. He continually looks for a new hat. Big Boy tells him he doesn't need a new hat for his head, he needs a new head for a hat. Even Randy Scott gets in on the humor this time and comes across with some funny lines. When Bedoya tells Scott that the trees are talking to him. Scott replies, "You'd better lay off that vanilla extract." When he is hold up with Nan Melotte (Ellen Drew)recuperating from a gunshot wound he feels the stubble on his face and comments, "It's like a coyote running through brush." The usually serious Scott plays a lighter role this go around and it is a plus for this otherwise dark and moody film. Look for Cameron Mitchell of television's "The High Chaparral" in a small part as one of the two brothers murdered by Will Isham's gang.

In the days before Tex Ritter gave immortality to the theme from "High Noon," showing Hollywood how cowboy music should be presented to the public, multi-talented Tennessee Ernie Ford sang the theme to "Man in the Saddle" with much the same feeling of authenticity. He also gets to sing another ballad on camera as one of the wranglers. He's hard to recognize at first because of his youth and no mustache. Tennessee Ernie was singing hillbilly boogie that sounded very much like Rockabilly when Elvis was still driving a truck in Memphis. He ended up concentrating mainly on television, retiring early from show business, except to cut a gospel album every now and then. "Man in the Saddle" is one of his few screen appearances.

Though not up to par for a Randolph Scott western, still worth seeing for fans of 50's westerns.

Rancher Knox is marrying Scott's girl and is also eager to take over all the land around him, including Scott's ranch - trouble follows.

Standard, possibly slightly better than expected western fare with the usual stuff taking place when there's a battle for land. One very good, tough fight scene though and Scott has, as usual, a strong screen presence.

While the Western genre is not one of my favourite film genres, there is still appreciation for it and there are many classics in it. Also like Randolph Scott, though not a favourite, with some of his best work being with Budd Boetticher, and it was interesting to see him atypically cast as part of a love triangle. Andre De Toth was a very gifted director, with already good experience with Westerns (the genre he revisited most frequently), and sadly undervalued. Those were the main reasons for seeing 'Man in the Saddle'.

Can totally understand the division in opinions here, considering that the premise is one of those could go either way ones and won't connect for some, but count me in as someone who liked if not loved 'Man in the Saddle'. It's not one of the best Westerns out there and not quite one of Scott's better collaborations with De Toth (both also doing better individually), but neither are disgraced either. While an uneven film, there is also a lot to recommend about 'Man in the Saddle'.

Those good things are going to be mentioned first. The Technicolor is absolutely marvellous, especially in the night scenes, and the scenery sweeps majestically. The score rouses and doesn't sound stock or overbearing. De Toth directs with real confidence (the experience in the genre showing) and is in full control of and ease with the material. The script is generally taut and lean, going at a natural flow. Actually did think there was tension, especially in the terrific fight scene with John Russell and the climax.

Scott is very strong in the lead role, with exactly the right amount of grit and swagger and he has the right amount of charm to be convincing romantically. Joan Leslie is charming as the love interest and any scenes with her don't slow the film down. John Russell is one of two standouts of the rest of the cast, even with a stock role he is still very sinister and eerily tight lipped and makes the most of what he is given. The other is the very funny comic relief from Alfonso Bedoya, who looks as though he was enjoying himself and the humour is not overused, forced or out of place.

Not all the cast work however. Absolutely agree that Alexander Knox and Richard Roper are very bland, especially Knox as a character that was a real missed opportunity. On paper, the character had potential to be the most psychologically interesting, but ended up merely being the cliched one dimensional romantic rival. Roper is not remotely believable as a villain physically or dramatically, with no menace at all (whenever it is tried it never looks natural and looks rather prompted). Also felt that Ellen Drew had next to nothing to work with and what she is given is pretty weak and syrupy sweet, Drew has the right amount of allure but the dull, thankless material works against her.

Didn't completely buy the romantic rivalry, not because of it being implausible or creepy or anything like that (it was neither), the inconsistent acting and that it doesn't feel developed enough bring it down. Some of the dialogue could have been tighter and parts are soapy and stilted like with Drew.

Concluding, pretty good but not great. 7/10.

Thoroughly enjoyable from start to finish. Great cast, in color, great western scenery. Bad guys are bad, the good guys are good. Hats off to just the right amount of comic relief (inside joke - watch the movie to get it). Sit back and escape today's complicated life and see this on a lazy Saturday afternoon.

The Ranown westerns always get a better reputation, and as much I like Randolph Scott's work with Budd Boetticher, I prefer the ones he did before, like this engaging western that unravels the characters - has a tint of psychology especially concerning Alexander Knox's character - nicely before getting to the good stuff. Energetic shootouts, a lengthy fistfight with a cabin falling apart, and a shootout finale in a dust-blown street. Dialogue is snappy as is the pace. Andre de Toth is an underrated director.

The series of six westerns that Andre De Toth produced with Randolph Scott did not reach (far from that) the level of the Budd Boetticher kinda franchise. But it contained a lot of fine things starting with the aegis of the Columbia studio. Man in the Saddle is a notch above, for instance, Gordon Douglas' The Nevadan and Irving Pichel's Santa Fe, although it's no more than just pleasant, never reaching any heights. Still playing in the court of the B series League.

I love Randolph Scott westerns and have seen most of his films. However, unlike the vast majority of his wonderful films, this one left me feeling rather indifferent. Some of it is because the plot is oh so familiar, some of it is because the villains aren't particularly believable or interesting (Alexander Knox and Richard Rober were simply too bland for their roles) but I think a lot of it was because the motivations of the baddies were just too vague. It was like they were bad because they were caricatures--not real people. Sure, Knox's character was supposed to be jealous...but this didn't seem enough to explain his actions. And, oddly, for once, Randolph Scott also seemed aimless--at least for part of the film.

Another problem, and I've seen this in a couple other Scott films is that the stunt doubles simply didn't look like the people they were doubling for in the film. While the difference between the stunt man and Scott wasn't as bad as the one in I'M GONNA GIT YOU SUCKA!, it was pretty close. Again and again during the fight at the cabin by the waterfall, you could clearly see it wasn't him.

Despite all these problems, I am not saying that this is a bad western---it isn't a particularly inspired or interesting one. And, from Randolph Scott you just wouldn't expect ordinary. This was 100% ordinary.

Man In The Saddle Is Classic In Every Sense Because It Was A Fantastic Formula So Popular During The Fifties When The Star, Not The Film Pulled The Fans Into The Theater. Scott Is Excellent In The Colorful Location Of Lone Pine, California. Detoth Had Come Aboard As Director Since Usual Scott Director Edwin Marin Had Recently Died Of A Heart Attack. Man In The Saddle Is The Action Western No Longer Produced And Sorely Missed By Many, And If It Is Veiwed With An Idea Of The Time it Was Made One can Almost Feel The Excitement Which Filled Theaters No Longer Enjoyed, As In Those Days. I Rate Man In The Saddle 4 Stars Out Of 4. Billy Holcomb