classicsoncall I get the biggest kick out of the brief summary of this movie on it's IMDb title page - 'Marshal Wyatt Earp kills a couple of men of the Clanton-gang in a fight'. Really - a fight? Come on - it was the Gunfight at the O.K. Corral!!! Let's give it a little more credit.Well director John Sturges picked up somewhat where he left off with 1957's "Gunfight at the O.K. Corral". That picture did a pretty good job of defining the relationship between Wyatt Earp and his friend Doc Holliday, a case of a square deal as defined by the lawman. That relationship continues here though not without it's abrasive moments. I liked the idea of Jason Robards portraying Holliday even though he was almost a decade older than his real life counterpart at the time. He seemed to have the right amount of ego and attitude to mirror Holliday's temperament.The problem I get into with these films is that I tend to focus in on the historical inaccuracies and this one seemed to have it's fair share. Perhaps the biggest one that could have been easily rectified by simply checking was in the spelling of the name 'McLaury'. When the dead men from the Gunfight are put on display, the names of Frank and Tom are spelled 'McLowery'. Virtually any reference source one could look up uses the 'McLaury' spelling.There are others of course. Students of the Old West will know that Wyatt Earp didn't shoot Ike Clanton in a final showdown; he was killed resisting arrest for cattle rustling some six years following the infamous gunfight. As far as the historical Ike Clanton goes, I don't think you'd have ever caught him wearing a business suit. As a leader of the cowboy faction in the vicinity of Tombstone and along the border to Mexico, Clanton plied his trade of cattle rustling as a rough and tumble outlaw instead of a well spoken citizen.The main idea the story got right, and one that most film treatments never go into, is that the Earp dominance of Tombstone ended following the events of the O.K. Corral. Wyatt stood trial for murder and was exonerated, while brother Virgil was wounded a couple months later, followed by Morgan's murder in March of 1882. Thus came to be what historians call the 'Earp Vendetta Ride', a term curiously not referred to in the story.In general though, this movie is a pretty good Western and James Garner does an admirable job as Wyatt Earp, a characterization that's a lot more grim than that of Bret Maverick. I also refer the reader to one of Jon Voight's early screen appearances as Clanton associate Curly Bill Brocius, particularly to an opening scene when he's shown leaning against the wall of the train station. From a different angle it almost looks like the pose he used for the theatrical poster for "Midnight Cowboy".

FightingWesterner Starting with the gunfight at the OK corral, this traces Wyatt Earp's life from the resulting trial, the maiming and murder of his brothers, the reprisal killings and the final showdown with Ike Clanton.Being that this is a pseudo-sequel to director John Sturges' own Gunfight At The OK Corral, this has the feeling of being dropped into the middle of a four-hour mini-series, jettisoning all the get-to-know- you stuff and romantic subplots of all the other Wyatt Earp movies and instead focusing on fast-moving action and tough dialog.James Garner and Jason Robards step into the well-worn worn shoes of Earp and Doc Holliday, with Robard's performance easily upstaging that of Garner. Robert Ryan is okay and John Voight makes his almost debut, beating his long delayed first feature by a whisker!Though not one of the all-time best, it's exciting and highly watchable. I have to say though, my favorite Wyatt Earp movie is still the one starring Captain Kirk, Mr. Spock, and Dr. McCoy.

spelvini Reportedly the John Sturges-directed, ponderous Hour of the Gun that came some ten years after the high-profile flourished Gunfight at the OK Corral, was a much more appreciated film. Mostly the admiration came form the director who was dismayed at the bending of historical facts to fit into a palpable Hollywood vehicle.Writing kudos to Edward Anhalt who takes the gnarly legal situations of the film and makes them gripping as scenes are set up to examine the way in which Wyatt Earp uses the instruments of the law-enforcement system to bring the Clanton Brothers to trial for their wide-ranging activity of robbery and assassinations. Moreover the film highlights well how the character of Wyatt Earp disintegrates to the level of avenger in order to force justice.It's a thinking man's film. These gunslingers talk a lot about their reasons for doing what they do. The deadly gunfight at the OK Corral happens very early in the movie, and the nullifying affect it has on the balance of power between law-abiding citizens and the outlaws becomes a social pivot point in how the film defines success. This is a period of change in the West, a time in which laws were supposed to supersede gun violence, and the script makes note to repeat the efforts of Earp to utilize this new rule of the land.The performances of James Garner as Wyatt Earp, Jason Robards as Doc Holliday, and Robert Ryan as Ike Clanton anchor the film one three distinct personas. Each represents a defined viewpoint of how civilization is proceeding, and each argues as well with words as he shoots his gun.There is some slight bending of historical accuracy as when Garner's Earp finally tracks down Ryan's Ike Clanton and the confrontation is one of those classical Hollywood standoffs. This only seems slightly self-indulgent for the filmmakers. This is still a classically-structured movie and we already know the story, but seeing how Hour of the Gun reaffirms the myth of the West will have you thinking more about how America developed such a respectful admiration of guns.

Spikeopath Hour of the Gun is directed by John Sturges and adapted to screenplay by Edward Anhalt from Douglas D. Martin's novel Tombstone's Epitaph. It stars James Garner, Jason Robards and Robert Ryan. Music is by Jerry Goldsmith and cinematography is by Lucien Ballard. Story begins with the shootout at the O.K. Corral and tells of the aftermath involving the major players.Although John Sturges' Gunfight at the O.K. Corall ten years previously proved to be popular, the director was never happy with the finished project, due in no small part to the fact that Hal B. Wallis controlled the script. Here Sturges takes control and crafts what in essence is a sequel to the 57 movie. Leaning more towards a character study with a dark edge, Hour of the Gun is refreshing in giving the Wyatt Earp/Doc Holliday characters a different story than the one we normally see on the screen; one that actually attempts historical accuracy where possible.Viewing it now it's easy to see why the film was received coldly back on release. The Western movie was just about creaking along as a viable cinematic genre as it was, but with Sturges and Anhalt portraying one of America's folklore heroes in moral decline, it's unsurprising that it found itself out of sync with the times. However, time has been very kind to it, where over decades the re-evaluation of many a psychological Western has seen it viewed as one of the more bolder and cynical tinted oaters from the 60s.With a fine script from Anhalt to work from, who also features as a player in the film as Holliday's whiskey smuggling carer, the cast work well. Ryan files in for villain duties as Ike Clanton and Garner as Earp and Robards as Holliday make for a suitably sombre pairing. There's also some quality in the support ranks where Albert Salmi, John Voight, Jorge Russeck and Karl Swenson leave good impressions. With Goldsmith tonally aware for the scoring and master photographer Ballard utilising the Panavision on offer for the Durango locations, it's an all round well put together production. Some fat could have done with being trimmed off it to get it 10 minutes shorter; for the story starts to feel over long entering the last quarter. But Hour of the Gun is not only a better than your average 60s Western, it's also one of the better Wyatt Earp movies available to those interested in the subject. 7.5/10