Audie Murphy's name may be at the top of the bill but it's pretty much Dan Duryea's picture the way he overtakes any scene he's in. Duryea reminded me of Richard Widmark as Tommy Udo in the 1947 film "Kiss of Death" the way he laughs maniacally whether the situation calls for it or not. I was thinking that if there was an old lady in the story, he might have thrown her down a flight of stairs just for the fun of it.

Murphy's character is Clay O'Mara, returning from a railroad job (no, really, he worked for a railroad, he wasn't railroaded) to track down the villain who murdered his father and brother during a cattle rustling operation. His quarry is upstanding citizen Tom Meredith (William Pullen) doing a hide in plain sight in concert with crooked Santiago town sheriff (Paul Birch). The pair send him on a mission sure to get O'Mara seriously killed when they finger Whitey Kincaid (Duryea) as a prime suspect.

It's never explained in the story how Clay O'Mara came by his skill with a six shooter. I was probably more surprised that Kincaid when the 'kid' shot the gun right out of his hand in a barroom face off. Sure you expect it of the story's hero but the groundwork was never laid for it, and O'Mara himself never gave a clue how he was so handy with a gun. Maybe he should have been the ringer in the story instead of Russell Johnson.

Say, did you notice the bars of the jail cell Whitey got locked up in - what's with the flimsy cross-hatch design? It looked like you could have pried them open with a decent crow bar if you had one. Probably why Kincaid didn't have one. He didn't need it actually since the sheriff gave him his gun back.

I don't know what might be considered the first revisionist Western but Duryea's performance here might be considered one of the earliest examples of a cowboy anti-hero. He's a villain you come to terms with the way Murphy's character did when he turned his back on the outlaw and lived to tell about it. It's too bad really that he didn't make it to the end of the picture.

Someone guns down Audie Murphy's father and brother and steals their cattle, so Audie pins on a badge and goes hunting Dan Duryea. After he brings in his man, giggling madman Duryea is cleared in court by corrupt lawmen Paul Birch and Russell Johnson. Duryea takes a shine to Murphy's naive honesty.

It's a well written western, and if Duryea dominates the movie, it's all offered pretty much in the wheelhouse of the leads. It's another of Universal's "shaky A" westerns, focusing more on character and story than the declining B westerns of the era. Jesse Hibbs, in his second time wielding the megaphone, does a good job, and seems to have established enough of a rapport with Murphy to direct half a dozen of his movies over the next four years. He was born in 1906. By the time he was 30, he was an assistant director, and was that on more than fifty films. With the decline of lesser productions, he shifted to directing TV westerns and episodes of THE FBI. He died in 1985.

Ride Clear of Diablo is a stand out among the B westerns that Audie Murphy did in the 1950s. Murphy is Clay O'Mara who's looking for cattle rustlers that murdered his father and brother while he was away from the family ranch.

Murphy gets hired by Sheriff Paul Birch as a Deputy and also takes a liking to Birch's niece Susan Cabot. She's got a fella though in lawyer William Pullen.

The joker in the deck in this film is Dan Duryea. Duryea was a fine actor who played many a psychotic villain in films. A typical and unforgettable part for him would be Waco Johnny Dean in Winchester 73. That's quintessential Dan Duryea. A year earlier in 1953 in Thunder Bay, Anthony Mann who directed Winchester 73, fooled his audience by not having Duryea betray Jimmy Stewart.

Something similar happens here. Audie Murphy is sent out to bring in Duryea, but the two develop a relationship of sorts. He's still Dan Duryea, hyena laugh and all, but you're not quite sure what he's gonna do in the end. And I'm not gonna say what either, but it's the key to the film.

Audie Murphy did some fine B westerns in the 1950s. Unfortunately the B western was finding a new home in television. But Murphy's work is appreciated among western fans today though.