Man in the Shadow 1957 123movies

Watch: Man in the Shadow 1957 123movies, Full Movie Online – In effect, modern cow town Spurline is run by Virgil Renchler, owner of the Golden Empire Ranch. One night, two of Virgil’s henchmen go a little too far and beat a “bracero” ranch hand to death. Faced with an obvious cover-up and opposition on every hand, sheriff Ben Sadler is goaded into investigating. His unlikely ally: Renchler’s lovely, self-willed and overprotected daughter. Will Ben survive Renchler’s wrath?.
Plot: In effect, modern cow town Spurline is run by Virgil Renchler, owner of the Golden Empire Ranch. One night, two of Virgil’s henchmen go a little too far and beat a “bracero” ranch hand to death. Faced with an obvious cover-up and opposition on every hand, sheriff Ben Sadler is goaded into investigating. His unlikely ally: Renchler’s lovely, self-willed and overprotected daughter. Will Ben survive Renchler’s wrath?
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Ratings:

	6.8/10 Votes: 1,099
	N/A | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 33 Popularity: 3.367 | TMDB

Reviews:

The Bingham County Bully.

Man in the Shadow is directed by Jack Arnold and written by Gene L. Coon. it stars Jeff Chandler, Orson Welles, Colleen Miller, Ben Alexander, John Larch and Barbara Lawrence. Uncredited music is by Hans J. Salter and Herman Stein, and cinematography by Arthur E. Arling.

The cattle town of Spurline is ruled by Virgil Renchler (Welles), one man refuses to bow to his despotic rule – Sheriff Ben Sadler (Chandler).

Obreos No Son Permitidos A Traves De Esta Cerca.

The above statement means that field hands are not permitted beyond this fence, it’s an opening salvo that greets viewers of this atmospheric and relevant CinemaScope picture, and it’s something that perfectly sets up the unseemly tone of the story.

The story is simple enough, a town is run by an unsavoury business man who thinks he and his cronies are above the law, the townsfolk think he is as well and tow the line, even in view of the overt racism and treatment to those of other ethnicity. When a murder is committed it brings in the upright and loyal to the law Sheriff, who as you might guess will have to stand alone against tyranny.

“Now you’re shocked? All you decent people were shocked? For god’s sake why? Because my name’s Ben Sadler instead of Juan Martine, cuz I’m a tax payer instead of a drifter?”

With mood established, both in narrative thrust and monochrome magic, film is more concerned with political bile, the abuse of power and troubled consciousness than being an action piece. You may well know how this is all going to end, but it’s told and performed in such a gripping fashion that it holds court from first frame till last. A number of striking images would grace many a film noir, the night shots of the town, a dastardly crime perpetrated in the shadow of a swinging lamp, the ominous lighting of the Renchler Ranch, and then there’s the potency of the criminal acts, which are admirably constructed. Both Arnold and Arling proving to have keen eyes for visual impact.

Welles doesn’t have to stretch himself but makes a telling mark as the big bad, while Larch does a nice line in snarly henchmen villainy. Sadly where Miller is concerned, as Renchler’s daughter it’s a token role that any gal could have played, the role seemingly only serving to have her strip to her undies and be annoyed with her dad. Head and shoulders above everyone is Chandler, there are those who call him wooden (amongst over things), not a bit of it. The right role, such as this, showcases his worth, his subtleties, his physicality and a calming grace that makes one lament his too short career and life.

Thematically this sort of piece has been done much better elsewhere, but this is laudable stuff all told and well worth discovering for potential first time viewers. 7/10

The Bingham County Bully.

Man in the Shadow is directed by Jack Arnold and written by Gene L. Coon. it stars Jeff Chandler, Orson Welles, Colleen Miller, Ben Alexander, John Larch and Barbara Lawrence. Uncredited music is by Hans J. Salter and Herman Stein, and cinematography by Arthur E. Arling.

The cattle town of Spurline is ruled by Virgil Renchler (Welles), one man refuses to bow to his despotic rule – Sheriff Ben Sadler (Chandler).

Obreos No Son Permitidos A Traves De Esta Cerca.

The above statement means that field hands are not permitted beyond this fence, it’s an opening salvo that greets viewers of this atmospheric and relevant CinemaScope picture, and it’s something that perfectly sets up the unseemly tone of the story.

The story is simple enough, a town is run by an unsavoury business man who thinks he and his cronies are above the law, the townsfolk think he is as well and tow the line, even in view of the overt racism and treatment to those of other ethnicity. When a murder is committed it brings in the upright and loyal to the law Sheriff, who as you might guess will have to stand alone against tyranny.

“Now you’re shocked? All you decent people were shocked? For god’s sake why? Because my name’s Ben Sadler instead of Juan Martine, cuz I’m a tax payer instead of a drifter?”

With mood established, both in narrative thrust and monochrome magic, film is more concerned with political bile, the abuse of power and troubled consciousness than being an action piece. You may well know how this is all going to end, but it’s told and performed in such a gripping fashion that it holds court from first frame til last. A number of striking images would grace many a film noir, the night shots of the town, a dastardly crime perpetrated in the shadow of a swinging lamp, the ominous lighting of the Renchler Ranch, and then there’s the potency of the criminal acts, which are admirably constructed. Both Arnold and Arling proving to have keen eyes for visual impact.

Welles doesn’t have to stretch himself but makes a telling mark as the big bad, while Larch does a nice line in snarly henchmen villainy. Sadly where Miller is concerned, as Renchler’s daughter it’s a token role that any gal could have played, the role seemingly only serving to have her strip to her undies and be annoyed with her dad. Head and shoulders above everyone is Chandler, there are those who call him wooden (amongst over things), not a bit of it. The right role, such as this, showcases his worth, his subtleties, his physicality and a calming grace that makes one lament his too short career and life.

Thematically this sort of piece has been done much better elsewhere, but this is laudable stuff all told and well worth discovering for potential first time viewers. 7/10

The Bingham County Bully.
Man in the Shadow is directed by Jack Arnold and written by Gene L. Coon. it stars Jeff Chandler, Orson Welles, Colleen Miller, Ben Alexander, John Larch and Barbara Lawrence. Uncredited music is by Hans J. Salter and Herman Stein, and cinematography by Arthur E. Arling.

The cattle town of Spurline is ruled by Virgil Renchler (Welles), one man refuses to bow to his despotic rule – Sheriff Ben Sadler (Chandler).

Obreos No Son Permitidos A Traves De Esta Cerca.

The above statement means that field hands are not permitted beyond this fence, it’s an opening salvo that greets viewers of this atmospheric and relevant CinemaScope picture, and it’s something that perfectly sets up the unseemly tone of the story.

The story is simple enough, a town is run by an unsavoury business man who thinks he and his cronies are above the law, the townsfolk think he is as well and tow the line, even in view of the overt racism and treatment to those of other ethnicity. When a murder is committed it brings in the upright and loyal to the law Sheriff, who as you might guess will have to stand alone against tyranny.

“Now you’re shocked? All you decent people were shocked? For god’s sake why? Because my name’s Ben Sadler instead of Juan Martine, cuz I’m a tax payer instead of a drifter?”

With mood established, both in narrative thrust and monochrome magic, film is more concerned with political bile, the abuse of power and troubled consciousness than being an action piece. You may well know how this is all going to end, but it’s told and performed in such a gripping fashion that it holds court from first frame till last. A number of striking images would grace many a film noir, the night shots of the town, a dastardly crime perpetrated in the shadow of a swinging lamp, the ominous lighting of the Renchler Ranch, and then there’s the potency of the criminal acts, which are admirably constructed. Both Arnold and Arling proving to have keen eyes for visual impact.

Welles doesn’t have to stretch himself but makes a telling mark as the big bad, while Larch does a nice line in snarly henchmen villainy. Sadly where Miller is concerned, as Renchler’s daughter it’s a token role that any gal could have played, the role seemingly only serving to have her strip to her undies and be annoyed with her dad. Head and shoulders above everyone is Chandler, there are those who call him wooden (amongst over things), not a bit of it. The right role, such as this, showcases his worth, his subtleties, his physicality and a calming grace that makes one lament his too short career and life.

Thematically this sort of piece has been done much better elsewhere, but this is laudable stuff all told and well worth discovering for potential first time viewers. 7/10

Immigration and hatred, we really haven’t come far
Somehow eerily prescient of today (2016) and at the same time not. Stumbled on this as it was being run on Showtime and as I hadn’t heard of it, I DVR’d it to watch later. It reminds me in part of In the Heat of Night (Sidney Poitier) and Murder in Coweta County (Andy Griffith). The theme of a rich man running not only his business but the town or county he lives in is certainly not new. but done well here. Basically Virgil Renchler (Orson Wells) owner of the Golden Empire Ranch is upset as his daughter Skippy (Colleen Miller) has taken up a friendship with one of the migrants working on the ranch. Renchler tells some of boys to teach the boy a lesson. Enjoying the assignment, they go too far and kill the boy. The sheriff Ben Sadler (Jeff Chandler) finds he needs to look into the incident even though the townspeople are against it as Renchler basically “owns” and runs the town and after all it was only a wetback (Mexican) who was killed. The cover up results in a second murder and Sadler decides he has to make a choice: the law or the town. Eventually things spin so out of control that the townspeople find they too must decide. We have the expected resolution with Renchler being arrested.

About two thirds into the film Sadler has a conversation with the town barber, Tony Santoro (Mario Siletti) who comments he understands the problems the Mexicans are facing more so than the other residents. He mentions his father had died recently at the age of 93; and after living in this country for thirty years, he still spoke no English. And as for Renchler, he adds that he, Santoro, still has relatives in Italy and that Sadler might recall they had a guy back there who ran the country the way Renchler runs the town. While it is a clear allusion to Mussolini, I suspect there are many viewers who wouldn’t get it. Given the current political climate here and the attitude toward immigrants being espoused by some, the conversation has a certain poignancy and immediacy.

Jeff Chandler does a good job here. He imbues his character with the nuances of conflict he is dealing with, and the consequences of his choices on himself, his wife, his town. Worth a watch if you can find it, or if you like movies that are supposed to make you think. Pretty impressive for a B film from 1957.

Other Information:

Original Language en
Runtime 1 hr 20 min (80 min)
Budget 0
Revenue 0
Status Released
Rated Approved
Genre Action, Crime, Drama
Director Jack Arnold
Writer Gene L. Coon
Actors Jeff Chandler, Orson Welles, Colleen Miller
Country United States
Awards N/A
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Westrex Recording System)
Aspect Ratio 2.35 : 1
Camera N/A
Laboratory N/A
Film Length 2,196 m
Negative Format 35 mm
Cinematographic Process CinemaScope
Printed Film Format 35 mm