10 Underrated 1950s Westerns That Will Blow Your Mind

In the 1950s, the Golden Age of the classic Western movie arguably flourished, with iconic films such as “High Noon,” “Shane,” “Rio Bravo,” and “The Searchers” being released during this period, earning a permanent place in cinema history. However, change was on the horizon as societal transformations made traditional Hollywood approaches outdated, paving the way for innovative reinterpretations by filmmakers like Sergio Leone, Sam Peckinpah, and others.

In addition to the well-known 1950s Westerns directed by John Ford, George Stevens, and Howard Hawks, that decade also produced a number of lesser-known gems within the genre. These were created by various filmmakers such as Samuel Fuller, Robert Aldrich, and Budd Boetticher. Their unconventional movies served as a source of inspiration for filmmakers like Leone, Peckinpah, and ultimately Quentin Tarantino who followed in their footsteps.

10. The Baron of Arizona

Vincent Price Devises An Audacious Scam

Vincent Price is primarily recognized as a horror legend, but much like many actors from his time, he had a diverse career that extended beyond the realm of horror. For instance, in the film “Baron of Arizona,” Price’s flamboyant charm is put to excellent use, as he plays a cunning con artist, inspired by a real-life case. This story revolves around a forger who tried to swindle Arizona’s territory using falsified documents and a peasant girl posing as nobility.

Samuel Fuller eventually became known as one of the outstanding unorthodox film directors. Even in his second movie, Baron of Arizona, he was already setting some of his signature elements such as his interest in bold, rule-breaking characters and passion for dramatic material. His unique perspectives breathe excitement into what could have been a conventionally dull Western drama.

9. Silver Lode

High Noon Wasn’t The Only Anti-McCarthy Western

The storyline of High Noon, where a lone sheriff confronts a gang of violent gunmen, is widely recognized as a critique of McCarthyism through symbolic representation. Two years later, the movie Silver Lode took a similar approach but made its message clearer. The antagonist in this film, portrayed by Dan Duryea, is a marshal who enters town to arrest John Payne for murder; not subtly, his character is named “McCarty,” leaving no room for ambiguity regarding the film’s purpose.

In contrast to the straightforward anti-McCarthyism theme, Silver Lode carries a more intricate message. Instead of a gunshot saving Payne as seen in High Noon, it is Lizabeth Scott who saves him using a false telegram that appears to expose the marshal’s deceit. This Western takes a subversive approach, as the duel isn’t between gun-wielding outlaws but rather individuals willing to ruthlessly manipulate truth for their cause. The townspeople in High Noon are portrayed as cowards; in Silver Lode, they are shown to be dangerously susceptible to deceit, gullibility, and corruption.

8. Along the Great Divide

Kirk Douglas Makes His Western Debut

In a departure from his most iconic roles, Kirk Douglas made his first Western film. This movie, directed by Raoul Walsh, tells the tale of a marshal who finds himself tasked with shielding an accused outlaw from a furious posse seeking frontier vengeance. Similar to his portrayal of James Cagney’s psychopathic gangster in White Heat, Walsh delves deep beneath the genre’s typical facade, examining the complex psyche of Douglas’ character and what drives him to prioritize duty over everything else, including his own life.

Sharing screen time with Douglas is versatile character actor Walter Brennan, known for his humorous roles supporting stars like Humphrey Bogart and John Wayne. However, in this film, he takes on a challenging role as a tough villain instead.

7. Day of the Outlaw

Cold Westerns Are Their Own Genre

56 years before Quentin Tarantino’s Western The Hateful Eight was released, one of the genre’s finest examples was directed by Andre de Toth. This bone-chilling confrontation between Robert Ryan as a wronged rancher and Burl Ives as a merciless homesteader took place in the fittingly named town of Bitters, Wyoming.

As a movie enthusiast with a soft spot for Westerns, I’ve always been captivated by how these films use their desolate desert backdrops or grandiose vistas (as showcased in John Ford’s more romanticized productions) to convey symbolism. The film “Day of the Outlaw” takes this concept and amplifies it, using the windswept Wyoming mountains to portray frontier life as so unbearably harsh, one might question how anyone managed to survive long enough to build civilization at all.

6. Decision At Sundown

High Noon, But This Time The Townspeople Stand Up

Randolph Scott was often seen as a blank canvas among Western actors. Many directors used him to portray the most straightforward form of moral integrity. However, director Budd Boetticher, over the course of their eight collaborations, discovered in Scott a superb representation of hidden internal struggles.

In a different phraseology: At sundown, the movie titled Decision portrays Scott as a relentless seeker of vengeance, whose unwavering focus may appear commendable but could also be alarmingly selfish. However, the plot takes an unexpected turn that highlights how the thirst for revenge is merely self-centered ambition in disguise. Contrasting High Noon, Decision at Sundown paints civilized folks as powerful actors, whereas the protagonist is exposed as a delusional figure who, ironically, threatens democracy and civilization.

5. The Man From Laramie

Anthony Mann’s Best Jimmy Stewart Western

Jimmy Stewart was the ideal actor to portray the sincerity required for Frank Capra’s movie “Mr. Smith Goes to Washington“. From the film “Winchester ’73“, Stewart started working with tough-minded B-movie director Anthony Mann, which led him to abandon his youthful Mr. Smith persona and emphasize the weary demeanor he had initially shown in Capra’s “It’s a Wonderful Life“. This phase of Stewart’s career introduced the gritty Jimmy Stewart of the 1950s (prior to his transformation into a cheesy grandfather).

Jimmy Stewart, known affectionately as George Bailey to many, could prove challenging for those unfamiliar with his more complex roles. Remarkably, just like Hitchcock, the director recognized a maniacal aspect in the actor that translated into an intense determination. In the title role of “The Man from Laramie,” Stewart found himself constantly under threat from all directions, a situation fueled by a purpose so profound it seemed almost noble enough to explain his relentless, borderline self-destructive drive.

4. Terror in a Texas Town

Who Needs A Gun When You Have A Harpoon?

In another fashion reminiscent of “High Noon,” we find a solitary figure, not armed with a gun this time, but instead wielding a whaling harpoon – a symbol of his distinctness. The scene of Sterling Hayden, harpoon in hand, squaring off against a lone, one-handed gunslinger is an unusual spectacle that perfectly reflects the singular style of director Joseph H. Lewis, renowned for the cult classic noir film “Gun Crazy.

The film titled “Terror in a Texas Town” carries a thematic stance against the Hollywood Blacklist and expresses concerns about America’s anti-immigrant sentiments. Notably, it was also an “anti-blacklist” movie in a practical sense since it was written by Dalton Trumbo and featured Hayden, both of whom had faced the scrutiny of HUAC investigators. By this time, Lewis was planning to retire, so he was willing to risk his reputation by collaborating with blacklisted talent.

3. Rancho Notorious

Fritz Lang Finally Works With Marlene Dietrich

In the era of silent films in Germany, Fritz Lang and Marlene Dietrich initially did not collaborate, despite both starting their careers during the same period. It’s intriguing to note that they didn’t work together until 1952’s “Rancho Notorious,” which marked a unique collaboration. In this film, Dietrich portrayed a captivating ranch owner with a mysterious aura, who became infatuated with Arthur Kennedy’s character. However, she was unaware that his affections were insincere and he was merely seeking information about the man who had raped and murdered his fiancée.

In simpler terms, Daniel Taradash’s movie could have been quite good without Fritz Lang’s direction, but with Lang at the helm, it became a classic. While Lang’s non-noir films are often overlooked, “Rancho Notorious” is essentially a thriller set in the West, and should be recognized as one of his finest suspenseful works.

2. Vera Cruz

Robert Aldrich Sees The Future

In a Western film, Burt Lancaster and Gary Cooper take on the roles of two partners who aren’t particularly fond of each other. This makes “Vera Cruz” akin to a road trip movie featuring Laurel and Hardy, albeit without the humor. Instead, the humor lies in the fact that the characters who appear friendly on the surface are actually harboring deep-seated animosity towards one another.

In a less violent manner compared to Sergio Leone and Sam Peckinpah, who were undeniably impacted by “Vera Cruz”, Robert Aldrich blurred the lines of morality in a similar fashion as these influential directors did later on. The movie remains deeply rooted in the classic Western genre that emerged during the silent film era and peaked in the late ’50s. However, it subtly hints at the future direction of Spaghetti Western aesthetics, revisionist mindsets, and growing graphic violence.

1. Forty Guns

The Best Western Of The 1950s

The AFI’s list of top 10 Westerns is led by three films from the 1950s: “The Searchers”, “High Noon”, and “Shane”. Conspicuously absent from this list is arguably the finest Western of the decade, Sam Fuller’s “Forty Guns”. This movie, with its off-kilter nature, would have inspired filmmaker Russ Meyer if it didn’t already.

In a skillful blend of his gritty, sensationalist themes, Sam Fuller’s “Forty Guns” screenplay culminates in an almost flawless thriller. Notable cinematic references, such as the perspective shot through a gun barrel, reminiscent of James Bond, add to its allure. Barbara Stanwyck’s character, Jessica Drummond, wielding a whip, bears a striking resemblance to Joan Crawford’s Vienna from “Johnny Guitar,” if not being her comrade-in-arms. Fuller’s unconventional quirkiness might seem rough compared to the celebrated John Ford’s poetic style, but it gives “Forty Guns” a sense of novelty and audacity that even surpasses the acclaimed, overrated works of the revered filmmaker known for the staid and overrated “Searchers.

2025-06-01 04:11