Gary Cooper

Ruth Roman

Steve Cochran

Raymond Massey

Barbara Payton

Leif Erickson

Antonio Moreno

Jerome Cowan

Reed Hadley

Gil Donaldson

Will Wright

Byron Keith

Joe Dominguez

Steve Dunhill

Art Felix

Charles Horvath

Zon Murray

Stuart Heisler

John Twist

Max Steiner

Anthony Veiller

Ernest Haller

Clarence Kolster

Douglas Bacon

George James Hopkins

Oliver S. Garretson

Western

Dallas

Warner Bros. Pictures

United States of America

The Reb and the Blue Belly come to town.

Dallas stars Gary Cooper, Ruth Roman, Steve Cochran, Barbara Payton & Raymond Massey. It's directed by Stuart Heisler, photography is from Ernest Haller & pen duties fell to John Twist. Produced out of Warner Brothers, Dallas is vividly filmed in Technicolor out of the Iverson & Warner ranches in California. Very much a film with its tongue firmly in cheek, the film is a throwback to the Westerns of yore that exist without pretensions or deep penetrative meanings.

The plot sees Cooper's Civil War renegade, Blayde "Reb" Hollister, fake his own death so as to kill off his reputation and to free himself for the pursuit into Dallas of the brothers who massacred his family. In essence a routine plot, Twist's story is perked up along the way by many a fun and exciting diversion. There's role reversals, dandy fashions, horseback pursuits, shoot outs, a love triangle, vigorous dialogue and deft little twists to keep the piece purely from painting it by numbers.

Cooper seems to be enjoying himself too, which further enhances the feel good factor on offer. It's true he isn't really asked to do anything more than be a laconic dude on a mission. But when called on for action duties, he delivers the goods that his fans have come to expect during his successful career. The villains entertain (particularly Steve Cochran's vile and dopey Bryant Marlow) because each have their own little peccadilloes to keep them from over familiar blandness. The two ladies of the piece look gorgeous and hold up well in amongst the machismo, while the high production value allows Haller to really treat the eyes with the lush Technicolor and involving camera work around the locations.

It has ideals to being an "A" list Oater does Dallas, something it just can't quite attain. But it's not for lack of trying and the end result is one of pure entertainment, that, in truth, should be enjoyed on a cold winters day when the viewer needs a pick me up. 7/10

English

Dallas 1950) Trailer