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Good Day for a Hanging
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Directed by Nathan Juran.
The Springdale, NE, bank is held up and robbed by a well organized gang. One of the members is Eddie Campbell (Robert Vaughn), a onetime resident of the town and orphan who was brought up in part by Ben Cutler (Fred MacMurray), an ex-lawman-turned-rancher. While pursuing the robbers, the town marshal, Hiram Cain (Emile G. Meyer), is shot dead by Campbell, who in turn is wounded and captured by Cutler. The town council appoints Cutler as temporary marshal, and the prosecution seems like an open-and-shut case -- he begins to see signs of trouble when his own daughter Laurie (Joan Blackman), who was raised with Campbell and was once his sweetheart, refuses to believe that he's guilty of the crime. Ben's fiancée, Ruth (Maggie Hayes), also feels the boy deserves leniency, but the real trouble starts when Campbell's attorney, William Selby (Edmon Ryan), shows up; he first tries to compromise the jury pool by ingratiating himself with the asking the townspeople what we would now call "push" questions, about Campbell's being an orphan and a hard-luck case all of his life, under the guise of building his case. He's also just clever enough at the trial to shake the testimony of the five other witnesses to the shooting, but Cutler's testimony is enough to put the jury into the guilty column. Then Campbell starts working on the sympathy of Laurie and the townspeople who've been persuaded by his lawyer -- it's also been a long time since there's been a capital case like this in the state, and Cutler discovers that the townspeople and even the law may not be as ready to execute a killer as common sense says they should be. Cutler's and Ruth's romance is jeopardized, and he is pushed to the point of resigning when matters come to an explosive head. ~ Bruce Eder, All Movie Guide
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Review by All Movie Guide
All Movie Guide
lost interest.
Nathan Juran wasn't known for his Westerns, but he did well by the genre on Good Day for a Hanging (1958). Of course, he was fortunate in having a good script, by Daniel B. Ullman and Maurice Zimm from a short story by John Reese, which owes a fair amount to High Noon. And Henry Freulich's color cinematography (non-anamorphic widescreen) never looks too pretty, attaining a decent level of realism that fits well with the raw emotions of the plot. The script and Juran manage to have some fun inverting the conventions of the genre from the scene over the opening credits, depicting a group of what are obviously outlaws observing a stagecoach crossing the prairie -- at the risk of spoiling the movie, let it be said that little that is seen in this movie will play out according to the dictates of the typical western genre, or what we would consider common sense, but it almost all makes perfect sense; the major exception is Joan Blackman's portrayal of Laurie Cutler, the daughter of reluctant lawman Ben Cutler (Fred MacMurray) -- she is so resolutely stupid and naïve, that one suspects that her character is intended to be mentally challenged, or just plain unbalanced; that this isn't the case leads to a moment that audiences in theaters tend to cheer, when her character is knocked out cold with a punch to the face. But everything else works well and logically, and disturbingly so at times -- the violence at the end is a little too savage by the standards of the time to be considered cathartic, though there is ample provocation of the audience to elicit this reaction. In the end, it's a sad little movie with a lot to say about the dark side of human nature and some very persuasive performances by MacMurray and Robert Vaughn, and a memorable, poignant (and unexpected) co-starring turn by Kathryn Card (best remembered as Lucy's mother on I Love Lucy), as the widow of a murdered lawman. ~ Bruce Eder, All Movie Guide
 



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