The Left Handed Gun (1958)

I guess, if you really like westerns, you can give The Left Handed Gun a try. I'm not a die-hard fan of the genre, so the movie has to be really riveting for me to enjoy it, like Gunfight at the O.K. Corral, or the remake of 3:10 to Yuma. If you're like me, stick to the exciting ones, because The Left Handed Gun isn't one of them.Paul Newman plays Billy the Kid, a somewhat spastic murdering cowboy. He relies on his sidekicks when he's in a jam, enjoys his women when he's in the mood, and shoots his enemies when they're in his way. That's pretty much it. It's not particularly exciting, and if you like to see Paul Newman as a bad boy, there are countless others for you to choose from.To be fair, there is one scene towards the end (no spoilers, don't worry) that is very good. While many people die in this film, one person dies a slow death in this particular scene, and it's pretty sad. Paul Newman finally shows remorse over this death, and in this one scene he's allowed to act for the camera, as opposed to the rest of the film.

A western detailing revenge and its aftermath best describes this 1958 Paul Newman film.Newman starts off a shy, slow-witted young man who is taken in by a cattle raiser who is so kind to him. When the latter is shot down by a rival group, Newman vows revenge and in his process of eliminating the man's killers, he gains quite a reputation which shall ultimately lead to a tragic ending.The story is one of being drawn into further gun play by a variety of circumstances, amnesty gone terribly awry, church wedding shootings and becomes quite violent as the bodies begin to pile up.Revenge begets revenge here. Keep to the good book and remain a lord fearing bible carrying person is the theme here.

This Film has Many Interesting Elements that may Attract Viewers. Director Arthur Penn's Debut, Early Paul Newman as an Iconic Western Outlaw, and a Different Artistic Approach to the Conventional Western.However, the Movie is not the Easiest to Like. Penn's Flourishes are Welcome in a Genre so Ripe with Regularity, but Newman Overacts to the Point of Silliness and can Grate on the Nerves. In Fact, just about Every Actor Emotes to Extreme, Except Perhaps John Dehner as Pat Garrett who Strikes a Concerned Lawman's Pose Quite Well Without Words. But even He is Guilty of One Scene that is Downright Atrocious (the this is my wedding, this is my town part).Visually the Film has Many Interesting Shots and Flourishes, but Newman's Exaggeration of Body Language and Other Fanciful Displays that Misfire bring the Movie Down to just Above Average. There is Enough Curiosity here that is Worth a Watch, but Overall it is the Over Baked Acting that makes this a Disappointment.

Not bad "psychological Western" based on Gore Vidal's take on the Billy the Kid story, written for the big screen by Leslie Stevens (of 'The Outer Limits' fame). Arthur Penn, director of such future classics as "Bonnie and Clyde" and "Little Big Man", makes his feature film directorial debut here, with Paul Newman in the role of Billy, taken in by kindly English gentleman / rancher Tunstall (Colin Keith-Johnston). He forms enough of a bond with this father figure to react with rage when the man is gunned down by his rivals, drawing two of his fellow ranch hands, Tom Folliard (James Best) and Charlie Boudre (James Congdon) into the ensuing drama. Newman may indeed have been too old for the role, but still creates a convincing enough portrayal of a man whose fate was determined early on and continues to maintain a wild child sort of personality. Unfortunately, things are destined to never go smoothly, as even when amnesty is granted by Gov. Wallace, Billy cannot leave well enough alone, and eventually damages his friendly relationship with easygoing Pat Garrett (John Dehner). With the exception of Garrett, none of the other roles are exactly what one would consider fleshed out, although the cast is solid right down the line, with Hurd Hatfield of "The Picture of Dorian Gray" fame cast as Jed Moultrie, the most interesting character of them all, the man intent on creating the Billy the Kid legend and then, ultimately, ending it. While the movie does drag in parts, it is indeed noteworthy for its attempt to put some sort of human face on a notorious real life personage, and it has quite a brooding quality for the duration - the low key finish is a literal portrayal of its underlying darkness. Best and Congdon, both highly exuberant, are amusing as Billy's sidekicks; one can even see hints of Best's future Roscoe P. Coltrane performance in one comedic sequence. Striking Lita Milan makes a pretty good impression as the young Mexican wife whose relationship with Billy only adds to his problems. Particularly strong among the supporting actors is the distinctively featured John Dierkes as the calm, caring McSween who tries to keep Billy under control. You'll also notice Best's future 'Dukes of Hazzard' co-star Denver Pyle as the character Ollinger. While the movie begins on a somewhat shaky note with that treacly theme song, it soon finds its footing and makes for compelling viewing. Previously filmed for the 'Philco Television Playhouse' series as 'The Death of Billy the Kid', which also starred Newman. Seven out of 10.