This Movie Can Only Be Described With One Word.

Dreadfully Boring

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Station West is directed by Sidney Lanfield and adapted to screenplay by Frank Fenton and Winston Miller from the novel written by Luke Short. It stars Dick Powell, Jane Greer, Agnes Moorehead, Raymond Burr, Tom Powers, Guinn Williams, Gordon Oliver and Burl Ives. Music is by Heinz Roemheld and cinematography by Harry J. Wild.Powell plays an undercover army agent sent into Rock Pass to find out who robbed and murdered two soldiers who were guarding a gold shipment.There has always – and always will be – debates about what constitutes film noir, but undoubtedly it is a line of film making that positively thrives on a style that cloaks a number of characterisations. Thus we have the many off-shoots of film noir, such as the Noir Western. Noir Westerns in all actuality don't number more than 20, and even some of those that get put forward are tenuous additions. Where the likes of Pursued, Ramrod and Blood on the Moon are confidently held up as the leading lights of Noir Westerns, it actually pays to look towards a rarer picture like Raton Pass or this here under seen treasure, Station West, for unseen sub-noir rewards.Station West has it all so as to earn its noir badge. It's got Powell doing a Western version of Phillip Marlowe, complete with swagger, sarcasm and the ability to nonchalantly smile in the face of peril. Then there's Greer, fresh from Out of the Past the previous year, Greer is in full tilt femme fatale mode, marrying up her hard beauty with feminist strength. Both Powell and Greer are wonderful, their respective characters constantly jostling for domination, trading quips and glib asides, the sexual tension consistently palpable.The town of Rock Pass is in the process of booming, but with that comes corruption, and it is rife, with unlikely sources pulling the crooked strings. Greed and betrayal are words that hover over the intelligent screenplay, even as the script snaps with delightful one liners and sarcastic wit, there's a moody ambiance snuggling on up with the fun side of things, these bed fellows are meant to be. While the man himself, Haven (Powell), has a reputation for not towing the party line, he's clearly in the right place then!Filmed out of beautiful Sedona in Arizona, Harry Wild's photography is gorgeous for the exterior locations (those rock formations are just visual orgasms), and film noir nirvana for everything else as he brings expressionistic touches to all the key sequences. In the support acting ranks we have Burr as a twitchy lawyer, Moorehead as a stoic wealthy widow, Williams as bad boy muscle, Oliver as the smarm, Powers as the grumpy unhelpful army captain and Ives as a hotel clerk – cum – balladeer who has a morbid hobby on the side. All of them contribute good characterisations.I can't say that Roemheld's score is particularly memorable, and a big fist-fight between Williams and Powell is ferocious but tainted by the over dramatics that were indicative of the time, but from beginning to sombre end this is a cracker and it deserves to be better known and loved. 9/10

Sidney Lanfield was one of those very competent, but unsung directors who knew what they were about and could make a good western. The plot gets a bit tangled here and there; its an oater with a Raymond Chandler style wisecracking detective, but with boots on. And who better than Dick Powell to out-sass the bad guys. The young Jane Greer somehow pulls off a world-weary saloon owner named "Charlie". She was always astonishing and for 1947 runs circles around all the male characters including Powell. There's a good, well-staged fist fight between Powell and Guinn Williams, some Arizona landscapes worthy of John Ford and the uncredited Burl Ives as a sort of chorus to the action and philosophical hotel keeper. Olin Howland shows up as a cook with attitude. Raymond Burr as a craven lawyer and Regis Toomey makes his required appearance. Also, Agnes Moorhead as a nice lady for a change. A western with a twist. You almost expect the dudes in the saloon to be drinking martini's.

Good scenic Western that applies the 40's private eye premise to a frontier setting. Powell does his 40's hard case number effectively, while Greer does her slinky spider woman bit. In fact, you have to look twice to make sure this isn't a Spade or a Marlowe. Powell's an undercover investigator on the trail of whoever knocked over an army shipment and killed the guards. In town are a lot of suspicious characters, including Greer and Burr, but suspicion isn't enough. Some good touches, especially the Sedona, AZ, locations, scenically filmed in b&w and lending an atmospheric note. And catch the middle-age romance between Powers and Moorehead, not exactly a staple of standard Westerns, especially for perennial spinster Moorehead. Also, there's nervous lawyer Burr, about as far away from lawyer Perry Mason as it gets. But what I really like is the way the movie works Burl Ives and his catchy tune into the narrative. It's very smoothly and pleasantly done.I don't know that there's anything special here, although the story ends on an unconventionally downbeat note. In passing-- I gather from TCM that director Lanfield gave Greer a bad time because she wasn't the preferred Marlene Dietrich. Too bad because Greer manages in one package to be both conniving and poignant, no mean acting trick.

This excellent Western is really a tough film noir cleverly set in the Old West. The dialogue is sublime, so razor sharp that the actors probably had to bandage their hands after reading the script. And there are interesting little details as well; for instance, the way Dick Powell condescendingly pats attractive women on the arm (the way you might a pet) to let them know who's really in control. (Or so he'd like to think.) Toss in a first rate supporting cast that includes Raymond Burr, Burl Ives, and Agnes Moorehead - all generously given their scenes to shine - and you've got one heck of a movie.On the surface, Dick Powell, as the undercover military officer trying to solve a series of gold robberies, is an unlikely leading man. He's more commanding here than many square-jawed actors, and when the film is over it's hard to imagine anyone else in the role.This is one of those extremely satisfying movies where nothing seems forced or labored. It has that effortless fluidity and clearness of purpose that makes it just as entertaining today as I'm sure it was 50 years ago.