Relentless (1948)

Relentless is directed by George Sherman and adapted to screenplay by Winston Miller from the story Three Were Thoroughbreds by Kenneth Perkins. It stars Robert Young, Marguerite Chapman, Willard Parker, Akim Tamiroff and Barton MacLane. Music is by Marlin Skiles and cinematography by Edward Cronjager.Young plays cowboy Nick Buckley who after being wrongly accused of murder has to stay one step ahead of the law in order to prove his innocence.On a narrative basis this can hold its head up as being a touch more realistic than other fare of the decade. For sure there be contrivances and itchy coincidences, but nothing that insults the intelligence. Aside form the most appealing technical aspects, where the vistas and colour photography sparkle, the cast are likeable beings who are easy to engage with. There's a bit of thought gone into not making Chapman's gal role a token one, while the plot strand involving the equines in Buckley's life is both interesting and poignant. Action is competently staged by the wily Sherman, who in turn steers the pic safely to the expected conclusion.A pleasing Oater that while not pushing any sort of boundaries or psychological depth, is sure to entertain fans of 40s and 50s Westerns. 6.5/10

"Relentless" is an unusual western. It's not just the plot but the casting, as Robert Young plays the hero...something fans of classic films might be surprised by, as Young normally only played in contemporary pictures...and often as a society sort of guy.When the story begins, Nick (Young) comes into town with his pregnant horse. He's mighty excited, as she's going to give birth to a baby sired by a racing champion. Unfortunately, shortly after the nag gives birth, a baddie comes along and steals the mother...leaving the baby horse to presumably die. But Nick isn't gonna put up with that and he tracks the guy down and shoots him in self defense....but the mother horse is killed and he's left with a baby horse and not much else. Fortunately, a lady traveling sales person (Marguerite Chapman) takes pity on him and helps Nick out by locating a surrogate mom. But what she can't do is convince the authorities that Nick is a killer--not for killing the horse thief but for a mass murder committed by a man (Barton MacLane) Nick saw shortly after...and Nick decides to devote himself to tracking down the real killer, otherwise the sheriff and his posse will hang him instead, as they're in a real hangin' mood!The first thing you'll probably notice about this one is the lovely color cinematography. Plus, the Sonoran Desert locale looked great on film. This is not some run of the mill production or B-western but a quality picture...with excellent production values and acting. Well worth seeing...and with a rather unusual plot.

This is a well made western that star Robert Young also produced. It includes three solid performances by Young, Marguerite Chapman and Barton MacLane. There is also a fun and somewhat poignant subplot involving a burro and a colt that is most unique. The title comes from the fact that Young's character never gives up in his pursuit of finding a killer. Chapman is highly engaging and real as she stands by her man (Young)with evidence to the contrary. Highly recommended. (Oh, watch for the appearance by Willard Parker as the sheriff. In a scene, towards the end, his physique and attitude remind you that he would have made a pretty good Lone Ranger if the commanding Clayton Moore hadn't been around.)

I was really geared up to enjoy this Western. It was high-class and adult in just about every way -- the acting, dialog, photography, scenery, cast, etc. Everything that is except the story. It soon became very boring; I couldn't wait for the movie to end. I fast-forwarded through some scenes. One thing that got on my nerves was the way in the wide open spaces of the desert West, the hero continually came across his lady friend and the bad guys by chance and how the characters could follow and track other characters so easily in the wide open spaces. Even the bad guy confessed on cue at the end by chance and coincidence. Even the evidence against the hero was rather flimsy. Too bad, for it was well-intentioned with good production values.