An odd look back at "simpler" days where things really weren't really so simple, at least for the mysterious young boy (Brandon De Wilde) who shows up in Missouri, getting much attention as he passes through a small town. He catches a ride with the dark souled Lee Marvin and meets a kind, caring stranger in the noble Gary Merrill who, being reminded of himself as a youngster, begins to look after him. Strange agreements with Marvin see Dr Wilde taking residence in an abandoned house on Marvin's property and taking care of a wild horse that Marvin gave to Merrill to settle a debt. Marvin cruelty teaches De Wilde the hard facts of life, constantly reneging on verbal deals he made with him, repeating over and over, "It's not worth anything unless you have it in writing".Often disturbing, thus is a surprisingly adult for a supposed family coming from Walt Disney's Buena Vista studio. Some folksy elements make this almost a Currier and Ives painting, with dark twists and turns. Paul Ford adds both humor and pathos to the role of the lovable old tavern owner who was forced to stop selling beer and start selling chili that nobody likes. Others among the ensemble are Kathleen Freeman and Frank Cady. But with Marvin's constant darkness, it's difficult to see the light at the end of the horse race. An odd example for Disney to try more serious themes, presented in a way that leaves the taste of sour grapes in the viewer's mouth.

Missouri Traveler is an okay movie; you and your kids can enjoy it at least once. Biarn is a runaway from an orphan's home who happens across the small town of Delphi, where he settles into an abandoned farm and makes a life on his own with both the help and interference of various of the townsfolk. Brandon DeWilde's performance as Biarn is rather underplayed, almost to the point of making him seem a bit dull; this is probably his weakest film performance but even so he's okay in it. There were so many differences between the book and the movie though, and I wonder why the movie version was changed so much. In the movie, most of the theme seems to be Biarn rising above Tobias Brown's taking advantage of him, but in the book the themes are much deeper and more numerous; just by being himself, Biarn affects many of Delphi's townsfolk to an extent nobody realizes until the end of the story. This unexpected depth of the plot has unfortunately not made it from the book to the movie. Even so, watch The Missouri Traveler - and if you and/or the kids like the movie, get the book. Read it, have your kids read it, or read it to them at bedtime... it's nearly 300 pages and you'll enjoy every last one. The movie is 'nice' but only a taste of the actual story; I would really like to see this one remade, staying faithful to the actual story. It would be so much better.

This movie shows us how "the boy from Shane",has matured, still a soft talking very polite youth. He is a runaway in this movie and is groomed by Lee Marvin, a hard taskmaster who has made a name for himself as the poor boy who made good in this story. He takes unfair advantage of Brandon, but in the process, really teaches the youth some valuable lessons about life and how to take care of himself. These are lessons we can all learn from, and Gary Merrill provides care, comfort, and guidance for Brandon as he overcomes the hard "teaching" of Marvin. The film is anchored by the fine acting of Paul Ford, as usual, a leader of the business community, but with a soft heart for the troubled. This is a great family film, free of Hollywoods blood, guts, sex, and profanity.

Nearly every scene of this featherweight film set in the early 20th century is directed at an andante tempo, its story concerning a youth named Byron (a lacklustre Brandon DeWilde), a runaway from an orphanage who finds a home in a quiet Missouri town named Delphi, thanks to the editor of the local paper, played warmly by Gary Merrill. Byron is not, however, a favourite of wealthy but harsh land owner Tobias Brown (Lee Marvin), who teaches the lad lessons of life the hard way; their conflict forms the kernel of a torpid work which does benefit from a strong performance by always reliable Paul Ford as proprietor of a small cafe but which is sunk by the flaccid direction and hackneyed dialogue.