Here is a Western that is far above the majority made in the 1950's, and man there were quite a number, that has as much to do about character, motivation, morality, and other deep concerns, not found in a typical trip to the nineteenth century with cowboys and outlaws.

In fact, this is one of those that forsakes the usual focus on the landscape and moves the action to indoors because we are going inside the minds of all the characters and there is nothing open about their thought process, until they make a decision to see themselves as they really were, slaves in Sundown.

There are many players and they all have a part in the drama and sometimes it is amazing that so much could be done in less than 90 minutes. There is much sermonizing and this tale of revenge and soul searching is, nonetheless, another in the highly entertaining and thought provoking films in the Boetticher-Scott stable. Although it seems smaller in comparison to some of the others, it is just as big, and it is just as expansive, only this time it opens the mind and sheds sunlight on the soul.

Towards the end of his career, Randolph Scott did something rather risky for a film hero--but it did pay off in some terrific films. In "Decision at Sundown" and "Ride the High Country", Scott played a character who wasn't exactly a good guy--but a more complex man filled with good and bad. I liked this because although I love Randolph Scott westerns, there is a certain sameness to many of them--a certain formula. Seeing the formula upset a bit is a big plus for this film.

The movie begins with Scott and his friend (Noah Beery, Jr.) coming to a town where a wedding is about to occur. Just before the bride and groom are joined, Scott shows up and announces that the wedding must stop AND that he plans on killing the groom because he deserves to die! Personally, this seemed rather stupid as the town, not unexpectedly, is quite sore at him. However, their reaction is even more severe--they chase the two men into a building and threaten to kill them if they come out into the streets! Eventually you learn two things. First, Scott is angry at the groom (John Carroll) because Carroll was cheating with Scott's wife. However, through Beery, you also learn that Scott's wife was no angel--and Carroll was not her first affair! Second, you learn that Carroll and his sheriff pretty much control the town...and slowly the townspeople start to question what is now happening--especially after Beery is shot down AFTER he peacefully leaves and steps out of the fight! To see what happens next, try watching the film--you'll be glad you did.

With director Budd Boetticher and Randolph Scott...how could this film help but be terrific?! Not their best together, but awfully close.

While the western genre is not my favourite one of all film genres (not sure which one is my favourite due to trying to appreciate them all the same),there is a lot of appreciation for it by me. There are a lot of very good to great films, with the best work of John Ford being notable examples.

In the late 50s, starting in 1956 with 'Seven Men from Now' and right up to 1960 with 'Comanche Station', lead actor Randolph Scott collaborated with director Budd Boetticher in seven films. For me, 1957's 'Decision at Sundown' is one of their weakest, even a strong contender for their weakest. By all means it is a long way from terrible, it has a lot of great elements and is actually pretty decent. It just isn't in the same league as the wonderful 'Seven Men from Now' and 'The Tall T' and doesn't have enough of what made those two so good.

Starting with the strengths, while not the best-looking of their outings, being smaller in scale and slightly too compact in its setting, 'Decision at Sundown' still looks pleasing. It is very nicely filmed, with some nice colour and atmosphere, and handsomely designed, it just lacks the visual grandeur of their best collaborations. The music has presence and fits nicely, while not being intrusive.

Boetticher directs efficiently and mostly the film goes at a pace that isn't pedestrian. Numerous parts are suspenseful and fun, with some well choreographed action and some moral complexity. The ending is unusual and unexpected, and very effective. Scott brings likeability, charisma and intensity to his role and he is well supported by Karen Steele (oozing glamour and charm),Noah Beery Jr (enjoying himself immensely and having the best of the fun moments),John Archer (nice authority) and Andrew Duggan (suitably snake-like).

However, Valerie French is rather bland and colourless in an underwritten role and lacking the charm and sometimes touching chemistry of Steele. John Carroll underplays his fairly one-dimensional villain, he's no Lee Marvin, Richard Boone or Claude Akins.

The script is too wordy, lacking the meat and tautness of the scripts of the best Scott/Boetticher films, and can preach and be too basic to make the most of its complex themes. There is not enough depth to the characters, with only Scott's hero being developed enough and even then his motivation should have been explored more and more gripping. The story has a lot of great moments, but there is also some credibility straining, overload of simplicity and lack of tautness.

In conclusion, decent but had the potential to be much better. 6/10 Bethany Cox