Rancho Notorious

**_Western oddity about a ranch haven for outlaws led by Marlene Dietrich_** A vengeful Wyoming ranch hand (Arthur Kennedy) relentlessly pursues the cowardly murderer of his fiancé (Gloria Henry). ... **_Western oddity about a ranch haven for outlaws led by Marlene Dietrich_** A vengeful Wyoming ranch hand (Arthur Kennedy) relentlessly pursues the cowardly murderer of his fiancé (Gloria Henry). He eventually teams-up with a smooth brigand (Mel Ferrer) in the Southwest who takes him to a hacienda that’s a secret sanctuary for hooligans led by a former saloon entertainer named Altar Keane (Dietrich). The last of three Westerns directed by Fritz Lang, "Rancho Notorious" (1952) is a largely set-bound stylized ‘B’ movie that distorts reality in its implementation of artificial backdrops and shadowy interiors, which is why some view it as Western noir. The closest comparison would be “Johnny Guitar” (1954), but this one isn’t in the same ballpark of exceptionalness. The story’s just not as compelling. Yet there’s enough entertainment value here for those interested. Marlene was 50 during shooting yet still in shape and easily looking ten years younger. The amusing bar room race where the ladies ride the backs of drunken men like horses is a highlight with Altar Keane’s pure joy at winning the race being priceless. In the gambling sequence, look for a young Russell Johnson, aka the Professor on Gilligan’s Island. The film runs 1 hour, 29 minutes, and was shot at studios in North Hollywood and Hollywood (e.g. Republic Studios). GRADE: B-

Spectacle and action. That's what this Western offers to the fullest degree. It's a revenge tale, and ordinarily might be run of the mill, but for some incredible cinematography. The spectacle is gr... Spectacle and action. That's what this Western offers to the fullest degree. It's a revenge tale, and ordinarily might be run of the mill, but for some incredible cinematography. The spectacle is great. Arthur Kennedy plays the man looking for his fiance's killer. There is a mystery first as to where the killer is, and second a mystery of whom the killer is. Two men commit a robbery. The albino man waits outside while the culprit robs and kills the hero's fiance. Later, the killer argues with the albino over where to go. A place called "Chugalug", but the albino wants to part ways. He is shot in the back. The hero finds the albino and wants to know where the killer is. "Chugalug". That part is solved about a third of the way into the film. It's a ranch run by Marlene Dietrich who hosts bandits and gives them haven for a cut of their loot. Outlaws like Mel Ferrer, who plays her lover, Jack Elam, who is angry over the way Marlene takes advantage of him. George Reeves, who is not superman here. And many other interesting outlaws,including the killer, but our hero doesn't know which one. Like I say, this is "style over substance", a real spectacle, but the characters are endearing. Mel Ferrer plays a romanticized outlaw who cares about his comrades more than most outlaws do. He even stops to bury his best friend while on the run from the law. (His best friend is dead).

Now this doesn't start off very well - we have a really terrible "chuck-a-luck" song that makes you squirm a little. Stick with it though as "Vern" (Arthur Kennedy) sets off to track down the murderer... Now this doesn't start off very well - we have a really terrible "chuck-a-luck" song that makes you squirm a little. Stick with it though as "Vern" (Arthur Kennedy) sets off to track down the murderer of his gal who was slain in a hold up. Meantime, "Altar" (Marlene Dietrich) gets the boot from her hotel singing job but not before, with the help of "Frenchy" (Mel Ferrer), she wins quite a large sum on it's rigged wheel of chance. The two threads of the story knit together when "Vern" arrives at a remote ranch that's now owned by her and that offers a sort of sanctuary for those fleeing the law - so long as she gets 10%. Dressed for dinner, she wears a brooch that used to belong to the murdered girl so "Vern" determines to find out where she got it - and then avenge her death, upsetting the delicate equilibrium amongst his fellow crooks. Kennedy was never very engaging to watch, but Ferrer is a little more charismatic here as the deadly muscle for Dietrich's hard-as-nails songstress-turned-criminal. On that note, Ken Darby has penned a few unremarkable songs for her which did rather take from the pace of the adventure but do imbue her character with a little of the charm she so effectively uses to make a fortune off the backs of her miscreant companions. The ending is all a bit rushed, but the star manages to hold it together well enough for ninety minutes that I quite enjoyed, though most likely won't remember.