Don't listen to the Hype. It's awful

Best movie ever!

A Disappointing Continuation

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

One of Henry Fonda's best films from the Sixties is this made for TV film Stranger On The Run. In fact it's better than some of the films that did get a theatrical release. It's a western directed by Don Siegel who among other of his films directed John Wayne in his swan song The Shootist.This one is more like The Most Dangerous Game out west. Henry Fonda is hardly the big game hunter type. A whole lot of luck and the kindness of some strangers is what makes him survive.As Henry Fonda remarks when he gets kicked off a freight train where he hitched a ride, there's a whole lot of law for a town that's hardly a whistle stop. That's because this is a railroad town and railroad cop Michael Parks and a flock of deputies have made it their headquarters.Fonda gets noticed by Parks and his deputies when he asks about a woman played by Madelyn Rhue. When Rhue turns up dead later, Fonda is the one immediately suspected and he runs.But there are other issues here. The men are bored and Parks for his own amusement gives Fonda a horse and a head start and then sends a posse after him. But Fonda finds help from a few people and it gets a whole lot more difficult than he thought.Some other good performances that Siegel got from his cast were from Anne Baxter as the farm widow who has a son Michael Burns with the posse, but Fonda helps her and she helps Fonda. There's also Dan Duryea as an old marshal who realizes Parks is developing a real taste for the sanguinary aspects of his job.Fonda is no wild west hero, he's at his best playing a Mr. Every Man as he does here. Somebody up there likes him however, you can't explain his survival any other way.

When you see the cast, the director and the writer, the single thought is that this has got to be a great Western. Fonda rarely made a bad film. The director was at times masterful. But Hollywood is an industry. It makes films like Ford makes cars and every now and the you get the motion picture version of the Edsel. The best thing in it is Fonda's wig. Henry never had a lot of hair but what he carries on his head looks like a busby gone wrong, like the picture itself. Dull. Unimaginative. Utterly unbelievable. I am only spending time writing this to suggest that you might want to spend your time watching the same cast in other movies.

I'd love to know more about how this made-for-TV movie came about. It's got Don Siegel for it's director and Henry Fonda leading a first rate cast -- Dan Duryea is a stand out as the older, wiser gun-hand well past his prime (although he's actual a year younger that Fonda, Duryea looks at least 15 years older, but I gather he was in ill health). Not to give too much away, Fonda is a bum who drifts into town and upsets the apple cart by inquiring about the sister of a friend. The story builds quickly and is intriguing, but it is the characterizations of the players that give the movie it's greatest appeal. Even the minor characters are given some depth and not just the stereotypical kind of depth that is generally used as a kind of short-hand. The production values are just what they should be and the photography is excellent. I would suggest you go out of your way to try to catch this little gem of a western.

Seemingly unlimited by its humble origins as a TV-movie, STRANGER ON THE RUN delivers at every level. This project is tautly and intelligently directed by Don Siegel, with every scene counting for both characters and storyline. A great deal of Old West atmosphere is generated by the production, and there is a good score by Leonard Rosenman. But for most viewers, the cast will be the biggest draw for this movie. It's a mighty impressive lineup: Henry Fonda, Dan Duryea, Anne Baxter, Michael Parks, Lloyd Bochner, Sal Mineo. Everyone gives a committed performance, with Fonda (reprising a variant of the 'wrong man' role), Parks and Duryea especially impressive. This is one of Michael Parks best acting turns on film, a must-see for all his fans. In supporting roles there is solid work from Zalman King, Walter Burke and Tom Reese, all stalwarts of TV westerns. Only Sal Mineo seems underused here: he simply doesn't have enough to do, and it's frustrating to see him wasted like this. STRANGER ON THE RUN makes a perfect case for the quality TV-movies could achieve.