Joan Crawford once again displays that natural screen presence in the role of Vienna, a saloon owner who is regularly targeted by people in town. Her primary nemesis is Emma (Mercedes McCambridge), a self righteous bitch who is absolutely hellbent on either running Vienna out of town or actually having her hanged. Sterling Hayden is the title character, a traveling musician and a lover from Viennas' past. And charismatic young Scott Brady is The Dancin' Kid, the rascally character who stole the hearts of both women.Director Nicholas Ray does know how to reel you in right away, with an opening action set piece and the intense confrontations in the saloon that will soon follow. His is an interesting, intentionally offbeat Western. Based on the novel by Roy Chanslor, it spins a yarn in which the women take centre stage and the men often plod along in their wake. It's been praised for its symbolism, and some viewers see it as an allegory for the "Red Scare" of the era. It's gorgeously shot in "Trucolor" by Harry Stradling Sr., with the lavish interiors of Viennas' saloon contrasting with some of the stark exteriors. Victor Youngs' music is also aces. The dialogue is quite literate at times and has some choice quips as well. Although Philip Yordan is credited with the screenplay, it was actually director Ray himself and the blacklisted Ben Maddow who worked on it.The actors ignite some definite sparks. Behind the scenes friction between the principals results in some great film moments. Crawford, Hayden, McCambridge, and Brady are extremely well supported by a cast full of recognizable faces: Ward Bond, Ben Cooper, Ernest Borgnine, John Carradine, Royal Dano, Frank Ferguson, Paul Fix, Rhys Williams, Ian MacDonald, Trevor Bardette, Robert Osterloh, Denver Pyle, and Sheb Wooley. Borgnine steals his scenes as the Dancin' Kids' volatile associate Bart, but McCambridge is the true MVP of this production. She's superb at playing severely repressed and indignant."Johnny Guitar" was not a hit in its time, but appreciation for it has only grown over the 63 years since its release.Eight out of 10.

Movie quote - "I've never seen a woman who was more like a man." Let's face it - With this somewhat off-kilter, 1954 Western being a "Joan Crawford" vehicle - Who do you think was gonna get the juiciest dialogue? Who do you think was gonna be standing centre-stage in the meatiest scenes? And, whose character do you think was gonna be permitted to chew up the scenery, yet come out as the shining heroine at the end of this train-wreck?.... Who?... I'll give you exactly one guess who that was.You can be sure that "Johnny Guitar" (I wish this film had been titled something else) was a movie chock-full of hysterical, heavy-duty confrontations where it was the 2 women (not the men) who were clearly running the show.Time & again, it was Crawford, as the dignified saloon-keeper, Vienna, and Mercedes McCambridge, as the lynch-happy rancher, Emma Small, who were at each others' throats like a pair of ravenous vultures heading for the kill.Watching these 2 middle-aged babes go at it was, without a doubt, the crowning highlight of this decidedly "bent" Western. The absolute venom that was spat out between Vienna & Emma was so outrageously over-the-top at times that, before long, this story began to play out like something of a very twisted parody.All-in-all - "Johnny Guitar" definitely wasn't the best movie of its genre ever made, but, in the long run, it sure did pack one helluva mean-spirited wallop with its honest-to-goodness stab at attempting to reverse the gender roles of your average, 1950's Cowboy B-movie.

This could be called an Anti-Western or an Upside Down Western. It is one of those that has as many Descriptions as it does Admirers and Dissenters. It is Divisive and can Delight and Disappoint. There is Something here that cannot be ignored. It is Audacious, Different, Quirky, and Quintessentially a Cult Movie, Camp Classic, or an unmitigated Catastrophe, depending on who is doing the Pontificating.What Attracts Viewers and Historians to this Glaring Misrepresentation of the Western is a number of things, one is the Fading Star Joan Crawford taking full Control of the Film Production and Demanding a Singular Voice to its Intent and Outcome. Her Characterization is something so Bizarre that only an Egomaniac could have seen it as Flattering. She does Dominate the Movie but not Completely.The other Female Lead in this Western, and the two Women lead the Proceedings, is Mercedes Cambridge and She practically steals the Film with a Performance that is Loathsome and Witch Like. There are Garish Color Schemes and Poetic Dialog along with a Script that is not Shy about Anti-McCarthy Sentiments. There is more than one Scene where Characters are Forced to Name Names to save themselves and so on.An Unsettling Movie that is so Off-Beat it is a Hard Swallow for Casual Western and Movie Fans because it so Unorthodox. But if you are looking for Metaphors in your Movies and can Enjoy stretching and turning things inside out, this may be just the Western you are looking for.

It's difficult to resist this ridiculously OTT 'Freudian' western and far easier to sit back and enjoy a cast with at least twelve actors who regular film buffs will readily identify from Royal Dano to Frank Ferguson, albeit there is only one lead in the shape of Joan Crawford. Interestingly instead of a menage a trois we have a menage a quatre with Sterling Haydyn ostensibly vying with Scott Brady for Crawford's affections whilst Mercedes McCambridge clearly fancies both Brady and Crawford and - just to complicate things - off set Brady and young Ben Cooper were an item. The plot is so outrageous a passing zephyr let along a strong wind would see it off in nothing flat but wisely Nick Ray, clearly aware of this, keeps the whole thing moving lickety-spit to the Gotterdammerung-light finale. Enjoy