One of the best Westerns is unfortunately little known outside Film-Noir devotees and Robert Mitchum Fans. It is a darkly lit antithesis to most familiar Westerns of broad sun drenched landscapes and other clichés of the Genre. A brooding Character Study that anticipated the Mann/Boetticher personal Films of the 1950's.This is one of the very few Westerns that can be placed in the Film-Noir Category without dissent. From the conflicted and sensitive Anti-Hero to the moody, gloomy shadows that drape almost every Scene, to the brutal and very violent brawl that takes place in a dingy Commissary, to the changing attitudes of the Players, this is definitely a Noir without apology.The fine Acting, Cinematography, and Direction makes this stand out as a thoughtful, complex situation of Range Wars and Social alignments. A unique Movie that is mounted in a claustrophobic frame that goes against the grain of its setting. A sharply focused, but mysterious environment with Drifters and Cowgirls equally important to the Story.

Robert Mitchum wanders into the middle of a feud between two sides in the old west. All he wants to do is visit with an old friend (Robert Preston), but keeps getting pushed to enter the action--though he has no idea who is in the right and who is not. Instead, he just tries to be a decent person and stay out--but unfortunately, no one else will allow this.As for Preston, he wants Mitchum to join with him in beating Tom Tully and his friends. But, the more Mitchum digs, the more Preston seems to be in the wrong...and just plain evil. Obviously, the years have changed Preston for the worst (a role he often played during this era). Eventually, Mitchum realizes he must stand up to his old friend and do what is right.In general, this is a very good and adult sort of western. Robert Mitchum was very nice in the lead--very understated and not the macho hero you might usually find in such films. The script and direction are also quite good. About the only thing I didn't like in the film was Barbara Bel Geddes' character. At first, she's insanely hot-headed and pretty annoying. Later, she's level-headed and head over heels in love with Mitchum! It's like she's playing a Jekyll and Hyde sort of character--and always at such extremes.

Blood on the Moon is indeed, a black and white picture that is actually a"noir" western of late 40,s type. It contains a good story ,humour ,romance,action ,and very good acting.There are many dark scenes that would make the colorization process hideous at best. I think with it's sharp contrasts it would be nice on DVD for use on big screens. Great Cast! great dialog! One of my favorites!The characters come alive and you can't help but getting engrossed in the story. It comes from a Luke Short novel of which I've read many,beats the spurs of the newer 70,s. No "B" western , this one.No painted scenery like Bonanza.

Class A western with a great Robert Mitchum performance. Unlike other tall men riding in the films of that time, Mitchum's character is not a snow white hero coming to save the day,but a darkened figure just two steps from being an outlaw. Robert Preston is the charming,jovial wolf in a manner similar to Arthur Kennedy in Bend In the River and Robert Ryan's performance in The Naked Spur. Their epic brawl in an out of the way dingy saloon is one of the best movie fights ranking with John Wayne's and Randolph Scott's The Spoilers duel. Proves that RKO was for a time home to some true innovations in movie story telling. Mitchum's character will only go so far and thanks to Barbara Bel Geddes non Cathy turn as a frontier woman who gradually replaces her Calamity Jane-ish dress to become, seemingly, more domesticated in the manners of both typical western heroines and the mainstream movie going publics view of women after WWII ( Rosie the Riveter transforming into June Cleaver). The fact is though she isn't a screamer nor a corner huddler but equally as strong as Moody Bob. Great Western.