Except for the talky ending -- reminding me of the botched ending of Alfred Hitchcock's "Psycho" -- this is one excellent movie.John Wayne gives an even-better-than-usual performance; George "Gabby" Hayes was his usual great self, with some really wonderful scenes; and Ella Raines got probably her best role, one that made her a perfect strong match for the Duke.Russell Wade made his character convincingly weak, and Donald Douglas gave an amazingly under-played performance and made his character very sympathetic.Audrey Long has only 32 credits at IMDb and, with her beauty and ability, she should have had many more. She was with us until 2014, but played her last role in 1952, just eight years after "Tall in the Saddle." What a shame we don't have a chance to see more of her.Paul Fix showed again what a versatile actor he was, and Harry Woods and Raymond Hatton, with their short parts, were simply masterful.Really there were too many excellent performances from the very great Ward Bond and superlative players who didn't and often don't (like Hank Bell) get credit.That they got a chance to shine in "Tall in the Saddle" means we owe a thanks to both original story author Gordon Ray Young and screenplay writers Michael Hogan and, yes!, Paul Fix, a man of genuinely many talents.Director Edwin L. Marin gave us one of his best, too, and "Tall in the Saddle" is simply one great, but not perfect, movie. I watched it on a DVD coupled with "The Train Robbers" and I highly recommend it.

Tall In The Saddle is considered a grade B western for John Wayne, only because it falls short of the John Ford directed masterpiece, Stagecoach. While it is a typical oater, it is still a very interesting story, in its portrayal of women and their effect on the tough and rugged Wayne. Ella Raines is the star in this film, as she whips Wayne into shape, resulting in having the hardened misogynistic character, softening and learning to respect women as people. Ella Raines performance in this film is meritorious and she proves, in this her fifth film, how versatile an actress she is. Her portrayal of the feisty Arleta is played with a perfect blend of sharpness and toughness needed to tackle the callous Wayne character. Tagging along faithfully, is the lovable Gabby Hayes, who always adds the right amount of comic relief, as he plays the most cantankerous old coot in this film. Elizabeth Risdon is outstanding playing the strict crabby guardian of her sweet niece, played by Audrey Long. Ward Bond is always a strong, fine fixture in Waynes movies. This film turns into a real gem because it is so well executed by all the actors, add some really fine cinematography, first-rate directing, and you have a very enjoyable John Wayne movie. It should also be noted that John Wayne liked the script which was co-written by Paul Fix, a friend of Waynes, and a supporting player in many of his films, including this one. Tall In The Saddle, grossed an impressive hefty $4million in 1944. I have watched this western movie many times, and it never fails to satisfy.

. . . which I watched first a few nights ago as part of a double feature. In THE WESTERNER, Gary Cooper guns down Texas hero Hanging Judge Roy Bean in order to subdivide cattle ranches into farm land. By contrast, TALL IN THE SADDLE has John Wayne putting a stop to another Judge, Robert Garvey, who is aiding a snake named Harolday in a plot to steal several cattle ranches with an eye toward subdividing them into farmland. As the musical OKLAHOMA! so aptly puts it, "the farmers and the cowboys can't be friends!" One or the other must die, and it should be "Poor Jud" every time! But the subversive half of Hollywood casts pinkos such as Cooper to lynch the true Americans until a real man like Wayne comes along to set things right. Way to go, Duke. Moral: only watch THE WESTERNER if you've swallowed something poisonous, and need to barf. If, on the other hand, you're feeling nauseous over something in tomorrow's news, TALL IN THE SADDLE will help you keep your supper down!

This one got shown on late-night Italian TV unheralded, after a proposed screening of Allan Dwan’s THE RIVER’S EDGE (1957) got barred by Fox! I’ve watched a few of John Wayne’s vehicles made between STAGECOACH (1939) and FORT APACHE (1948): while he was officially a star during this period, he wasn’t yet the screen legend everyone remembers and loves – consequently, most of the films he made in the interim tend to be overlooked. This is one of them and, I have to say, quite an underrated effort it is too! Made at RKO, it features their customary shadowy lighting – and, while essentially modest in approach, the narrative is absolutely brimming with action, twists, romance (Wayne gets to choose between two gals) and even comedy (provided by The Duke’s frequent sidekick from his early years, George “Gabby” Hayes). Wayne is obviously in his element and, typically, his character has to go through a lot to fight for his rights (while he’s introduced as a ranch-hand, it transpires that he’s actually the heir to the property!), his own well-being (he’s not only provoked into several brawls or made the target of assassination, but is even framed for murder!) and, of course, true love (one girl is assertive and tempestuous, the other genteel and naive).Ella Raines, best-known for her noir roles, looks great in cowboy gear as the former; when it seems she may lose Wayne to the latter – played by Audrey Long – it’s revealed that Wayne and Long’s characters are blood-related, thus conveniently solving the star’s emotional dilemma! The supporting cast includes Ward Bond (as the judge who tries to deceive both Wayne and Long out of their inheritance, he eventually engages in a violent fist-fight with Wayne which virtually turns his office into a shambles), Elizabeth Risdon (an insufferable and scheming old lady who’s domineering of charge Long and contemptuous of both Wayne and Hayes), Russell Wade (the young second lead of THE BODY SNATCHER [1945] appearing as Raines’ gambler brother), Paul Fix (like Bond, a long-time buddy of Wayne’s who here plays the part of an antagonist) and Frank Puglia (as Raines’ devoted Indian protector which causes an ambivalence towards Wayne).Characterizations are well above-par for an ‘oater’; the end result is highly watchable and entertaining – if, ultimately, a notch below The Duke’s standards of a few years later. The film was nevertheless released on DVD by Warners as part of a 5-Disc John Wayne collection (of which I already own BLOOD ALLEY [1955], one I’ve yet to watch myself, and THE SEA CHASE [1955]) – and I wouldn’t mind adding it to my collection if the opportunity presented itself…