FORT DOBBS is a minor western from the stable of Warner Bros. Produced by Martin Rackin for the studio it was intended as a launch pad for the big screen career of "massive" 6ft 6in Clint Walker who had just ended his long run on the hit TV western series "Cheyenne". But Warners weren't taking any chances with their "new" star. They tiptoed with the production and it shows. Firstly, they filmed in Black & White at a time when most movies, particularly westerns, were getting the colour treatment and besides Virginia Mayo the cast had no Marquee names to speak of. But having said that it did have its compensations - in the smooth screenplay by George W. George and Burt Kennedy, crisp monochrome cinematography by William Clothier, a score by the studio's prolific Max Steiner and able direction by the rarely disappointing Gordan Douglas.
On the run from the law for a crime he didn't commit Gar Davis (Clint Walker) tries to "borrow" a horse from a remote homestead occupied by widow Celia Grey (Virginia Mayo) and her young son Chad (Richard Eyre). Hostile Comanches attack the homestead and Gar helps to hold them off. Under the cover of darkness the three escape on horseback and Gar commits himself to guiding the woman and the boy across the desert to the safety of Fort Dobbs. But when they get there the Fort has been overrun by Comanches (a good set piece). After managing to access the Fort Gar leaves to get help. He returns with a shipment of repeating rifles which he appropriates from an unscrupulous gun runner Clett (Brian Keith) after a tense fast draw shootout. The brilliant repeaters prove too much for the attacking Indian horde who finally retreat beaten and in total disarray. All's well that ends well and the end sees Gar, Celia and young Chad riding out of the Fort to start a new life together.
Performances are reasonably good. Mayo proving that at this point in her busy career she was still easy on the eye and an old hand at playing "the girl" in westerns. Good too is Brian Keith in the relatively small part as the shady gunrunner. The towering Mr. Walker is OK in the lead but his range as an actor is quite limited and it never really improved very much in future film assignments. But he looks well on a horse (if there's one tall enough around) and manages to make an acceptable western hero.
The most tangible aspect of the movie is without doubt the splendid score by the tireless Max Steiner. The explosive intro. to the main title is the one he used for the opening to his greatest western score "The Searchers" the year before. There are exciting cues for the various Indian attacks, a river rescue sequence and a marvellous long loping melodic theme for the trekking scenes. But the score's highlight is the rich central piece he wrote to point up the developing relationship between Gar and Celia. Especially poignant is its use in the aftermath of Gar's rescue of Celia from the river. A beautiful arresting cue full of harmonic elegance it is also masterfully rendered in an infectious jaunty variation for the closing scene as the trio ride out of the Fort together in a splendid medium tracking shot.
FORT DOBBS is no great shakes as a western but it does have a few things going for it that make it more than bearable.
On the run from the law for a crime he didn't commit Gar Davis (Clint Walker) tries to "borrow" a horse from a remote homestead occupied by widow Celia Grey (Virginia Mayo) and her young son Chad (Richard Eyre). Hostile Comanches attack the homestead and Gar helps to hold them off. Under the cover of darkness the three escape on horseback and Gar commits himself to guiding the woman and the boy across the desert to the safety of Fort Dobbs. But when they get there the Fort has been overrun by Comanches (a good set piece). After managing to access the Fort Gar leaves to get help. He returns with a shipment of repeating rifles which he appropriates from an unscrupulous gun runner Clett (Brian Keith) after a tense fast draw shootout. The brilliant repeaters prove too much for the attacking Indian horde who finally retreat beaten and in total disarray. All's well that ends well and the end sees Gar, Celia and young Chad riding out of the Fort to start a new life together.
Performances are reasonably good. Mayo proving that at this point in her busy career she was still easy on the eye and an old hand at playing "the girl" in westerns. Good too is Brian Keith in the relatively small part as the shady gunrunner. The towering Mr. Walker is OK in the lead but his range as an actor is quite limited and it never really improved very much in future film assignments. But he looks well on a horse (if there's one tall enough around) and manages to make an acceptable western hero.
The most tangible aspect of the movie is without doubt the splendid score by the tireless Max Steiner. The explosive intro. to the main title is the one he used for the opening to his greatest western score "The Searchers" the year before. There are exciting cues for the various Indian attacks, a river rescue sequence and a marvellous long loping melodic theme for the trekking scenes. But the score's highlight is the rich central piece he wrote to point up the developing relationship between Gar and Celia. Especially poignant is its use in the aftermath of Gar's rescue of Celia from the river. A beautiful arresting cue full of harmonic elegance it is also masterfully rendered in an infectious jaunty variation for the closing scene as the trio ride out of the Fort together in a splendid medium tracking shot.
FORT DOBBS is no great shakes as a western but it does have a few things going for it that make it more than bearable.