Dawn at Socorro

Any student of real western history will recognise the characters and part of the plot as being related to the Doc Holliday / Wyatt Earp /Clanton feud in Tombstone. Rory Calhoun is pretty obviously Doc while James Millican is Wyatt. The shootout in the stockyards is based on the OK corral and the screenwriters offer an interesting story on what happened next. Alex Nicol as Jimmy Rapp (John Ringo) is nicely portrayed and the movie moves along with a good pace of action, motivation and characterisation. Certainly a classic, considering the studio system in operation at the time it was made.A lot of effort and thought obviously went into its production. Well worth seeing.

For this viewer at any rate the prerequisite for sitting through any film starring Rory Calhoun is to ascertain who else is in the cast! Here we have the excellent David Brian and Alex Nicol and the always good value Edgar Buchanan.

That being said, the character of tubercular gambler Brett Wade which is plainly inspired by Doc Holliday, gives Mr. Calhoun a rare role of substance and he certainly rises to the occasion.

Not for the first or indeed the last time it is the remarkable Piper Laurie who leaves the deepest impression. She is surely one of the greatest actresses never to win an Oscar and it is inconceivable, even by Hollywood standards, that after her stunning performance in 'The Hustler' she was obliged to wait fifteen years for her next film role. She and Mr. Calhoun work surprisingly well together here and were to team up once again in the lightweight 'Aint Misbehavin' the following year.

Solid direction here by George Sherman and the shoot outs, one of which is more than a passing nod to that at the OK corrall, are well staged. To say that Mr. Sherman is an old hand at this sort of thing would be an understatement as he made his first Western in 1937 and his last in 1971.

A colorful western that is well-acted, unusually atmospheric and filled with intelligent dialogue and dramatic scenes is a rarity. The term "western" simply refers to a North American-based adventure or dramatic film wherein the central character acts in places where trains and modern technology are not the available norm. Those who would like to limit the term are obviously therefore wrong or worse. "Dawn at Socorro", with a literate script by George Zuckerman proves this point beautifully, I suggest. The stars of the film are attractive Rory Calhoun, lovely young Piper Laurie, powerful David Brian, charismatic tough guy Alex Nicol, graceful Lee Van Cleef, Edgar Buchanan as a harried sheriff and a raft of fine supporting actors including George Homeier, Ron Roberts, Paul Brinegar, Mara Corday and others. The unbilled star of the film is the state of New Mexico colors and the art director's, set designer's and costumer's achievements. This film feels like the real West where I have lived for many years, a countryside that is rough; it is being slowly civilized and lived in by men, but is still untamed as much as any zone in this country that I know. From the unforgettable opening narration in Lordsburg read by Roberts that sets up a fabled gunfight at the stockyards in Lordsburg through a memorable stagecoach ride, a long dramatic night at Brian's Bis Casino in Socorro to the climactic shootout and resolution, there is only only jarring element I suggest. This comes into the script because gambler Brett Wade, decently underplayed by Calhoun, probably the model for "Maverick", loved every minute of his notorious hell-raising past, yet now is forced to repudiate that vanishing time of which he says, "There'll never be another like it". When asked who is coming after him at the end, he says, "My past--every dark miserable day of it." But he triumphs in the end, as a cultured gentleman from South Carolina who plays classical piano ought to do; and despite his doubts and regrets for lost years, he manages to go on with hope. And what one remembers most of this terrific idea-level movie is the strongly-etched characters, the logic of their actions and motivations and the physical beauty of what is actually a "B" film production from Universal but looks more expensive at every moment. This is a movie that I claim is like a can't-put-it-down thriller, but with important ideas being expressed. Unusual, and powerful. George Sherman's fluid direction can be given much of the credit. This western is not to be missed.

*Dawn* is one of those 1950's westerns that were a variation on the Earp/Holliday story (e.g. *Warlock*). It works fairly well here. Grell Wade (Rory Calhoun) is a former Southern gentleman turned consumptive gunman and gambler who heads for the healthier climate of Colorado after standing with lawman brothers in their showdown against a family of cowboy outlaws. But of course in westerns no gunslinger is allowed to quit without at least one more fight, and that's the making of the story line here. Along the way, Wade meets his "fallen woman" with the heart of gold (Piper Laurie), a shady businessman and saloon owner (David Brian) and vengeful cowboys (Lee Van Cleef, Alex Nichol). Good supporting roles for Roy Roberts, Edgar Buchanan, James Millican, and others make this an entirely enjoyable little horse opera. A bit slow at times, but definitely a must-see for western fans and those who like their Rory Calhoun straight-up.

Dawn at Socorro is directed by George Sherman and written by George Zuckerman. It stars Rory Calhoun, Piper Laurie, David Brian, Kathleen Hughes, Alex Nicol and Edgar Buchanan. Music is by Joseph Gershenson and cinematography by Carl Guthrie.

One Night In Socorro.

A cracker-jack Western this. Plot essentially has Calhoun as Brett Wade, a tough gunfighter who is suffering badly from ill health. Taking advice from his doctor he decides to retire to healthier pastures, but his past and new enemies refuse to let him go. OK! So it's very much a composite of a number of famous Westerns, but to dismiss this as a cheap knock off would be foolish. The script is very literate and the screenplay never gets tired or preposterous. From an action stand point it scores favourably, right from the opening in Lordsburgh where we get a stockyard shoot-out, pic is never dull.

I wont arrest you for being naked.

There's good black humour in here as well, and some outstanding scenes such as Brett playing Beethoven's Moonlight Sonata at his own funeral (you will understand when you see it) and a poker game where the stake is the fetching Piper Laurie! There's a constant running feud between Wade and Jimmy Rapp (Nicol), a well written part of the film as it brings in codes and ethics that play opposite another character.

The tech credits are bang on the money. Location photography out of Apple Valley and Victorville is gorgeous, as is Guthrie's colour lensing for the interiors. Props and set design is hugely appealing, including a super locomotive for the train enthusiasts to gorge on. While the front line cast members (Lee Van Cleef & Skip Homeier have small roles) turn in very good work, with Calhoun once again showing his qualities in the genre.

My past - every dark miserable day of it!

But it's with the characterisations where the film strikes the finest. Laurie's Rannah Hayes has been cast out the family home for apparently being a hussy, she's constantly carrying that baggage with her. She finds a soul mate in Wade, a man dragged down by his life, and the weight of such could be his downfall - and he knows it. Buchanan is wonderfully ebullient as the lawman trying to get Wade out of town ASAP, Nicol is hopped up on booze and a thirst for vengeance, whilst David Brian is entrepreneur Dick Braden, a devious man with no code or honour.

Highly recommended to Western fans. 8/10