Seven Ways from Sundown is directed by Harry Keller and adapted to screenplay by Clair Huffaker from his own novel of the same name. It stars Audie Murphy, Barry Sullivan, Venetia Stevenson, John McIntire and Kenneth Tobey. A UIP production in Eastman Color with music scored by William Lava & Irving Gertz (Joseph Gershenson supervising) and cinematography by Ellis Carter. Plot finds Murphy as Seven Ways from Sundown, a Texas Ranger who tracks and captures notorious outlaw Jim Flood (Sullivan). As the two men make their way back to Texas, a bond begins to form...

It's another Audie Murphy Western that rarely gets a mention when the talk turns to Murphy's best Oaters. On this occasion, though, it's not because it is operating suspiciously at the low end of the "B" Western scale, or that it is boorish in the formula department, this is actually a case of it being under seen by the last couple of generations of Western fans. A shame because it has much to recommend.

Film basically centres around the two (initial) polar opposite characters finding a mutual respect as they traverse the dusty land back to Texas. Along the way they encounter problems; Apache attack, bounty hunters et al, but they play cards, they fight, with both men getting ample opportunities to either escape or wound, but mostly they talk. Wonderful dialogue driven chat from the Huffaker (Rio Conchos/The Commancheros) pen. This isn't in the same league as the psychological smarts laden 3:10 to Yuma chatter between Heflin and Ford, no sir, but it's well scripted and boosted considerably by the chemistry between Murphy and Sullivan.

It's an odd couple physically, especially in the early parts as Seven has Greenhorn traits to overcome, but the guy's odd friendship does become believable. When Seven says late in the day that there's no man he trusts more than Flood, we understand why, because Keller (Day of the Bad Man/Quantez) and Huffaker have done great work in bringing the characters and actors to life. There's extra spice in the beans, too, with knowledge given to us of what Flood has done with his guns and what Seven is irked by in his past, he has a calling but is it a burden?

There's enough action in here to please the undemanding Western fan, with gun play, fist throws and show downs (look out for a nice stunt leap off of a wagon),while there's the odd smattering of heroism such as Audie saving a dog from a bird of prey! A potential romance angle (no not between the men) is very low key and not a hindrance, McIntire and Tobey impact nicely with their respective performances and Nevada's Red Rock Canyon forms a magnificent back drop (bravo Ellis Carter). But this is all about Murphy and Sullivan and the care and consideration afforded them by Messrs Keller and Huffaker. Far from perfect for sure, anyone will find holes in this sort of production, but forgiveness is not hard to come by when it plays out so damn well. Hey! The ending is a real beaut as well. 8/10

Footnote: I viewed the film from British TV, Dave Channel. A lovely print that only makes me lament there's no widespread DVD release for this film. There is a very expensive Region 2 French DVD available from certain outlets, the quality of which I can't vouch for.

Audie Murphy is a rookie Texas Ranger assigned by Ranger Lieutenant Ken Tobey to accompany John McIntire to track down and apprehend noted badman Barry Sullivan. McIntire is killed, but Murphy takes him and they have one interesting journey back.

The film is kind of The Comancheros in reverse with a younger Texas Ranger bringing back an older outlaw. Like Stuart Whiteman with John Wayne, Sullivan is full of tricks and charm, but Murphy is up to it.

The whole film like The Comancheros depends on the chemistry between Murphy and Sullivan and they do it have it. It makes watching Seven Ways from Sundown good fun and you don't think about some glaring plot holes and some rather specious character motivation for the main and supporting characters.

The title comes from the fact Murphy's dad numbered rather than named his children. And Murphy's mom embellished the numbers with some additions, One for the money, Two for the show, etc.

Hey it could happen. I was in Fort Polk, Louisiana back in 1971 with a guy named John Twenty Five in basic training. Having seen this film in the theater way back when it was always on my mind during that rather grueling period of my life with Mr. Twenty Five.

Just caught a couple Audie Murphy Westerns back to back that were pretty cool, this one and "Posse From Hell", both of which I rank in the upper tier of Murphy's pictures. Backing him up in this film are a couple of TV Western stalwarts, John McIntire from 'Wagon Train' and 'The Tall Man' Barry Sullivan. There's something interesting about TV good guys taking on bad guy roles, and Sullivan's portrayal of Jim Flood in this story is that of an affable outlaw with a unique brand of personal integrity. I thought he did a pretty good job.

It's interesting too that Seven Jones (Murphy) never does find out the details behind the murder of his brother 'Two', all of that becomes known to the viewer but the hero is never let in on the secret. I won't give it away, you'll just have to catch the picture, but it's one of those things that wind up rare in movie Westerns.

As for 'Seven's' name, I wound up thinking about that for a while and came to the conclusion that it was a colorful way of Jones's father to come up with his boys' names. Maybe it was a little lazy, but it certainly was a lot better than boxer George Foreman naming all of his six sons George, distinguished only as Jr., III, IV, V and VI. I don't believe they ever had descriptives attached to their names like 'Two for the Money' or 'Seven Ways From Sundown', so being born into that Jones family must have been pretty unique. Still a little confusing though.

Say, how about that under the table, Han Solo-like shot by Jones against one of the bounty hunters coming after Flood in that saloon scene, almost two full decades before "Star Wars" came around? It looked pretty novel when I first saw the space fantasy, but I've seen the move more than once now in movie Westerns, so I guess you'd have to say George Lucas borrowed the idea when he wrote the scene. I think it comes off more surprising in "Star Wars", in a Western you almost expect it.

Well, it's too bad it had to come to that kind of an ending for Jim Flood. He was actually a pretty decent guy for an outlaw, and we never did come to learn why he was such a bad guy, except for the cryptic reference I made earlier. You come away from the picture believing he let Jones get away with outdrawing him, a fatal career move that one only gets to make once.