This movie makes some strange choices. It's very straightforward about its plot, dropping us right in, and the tale of vengeance is clear-cut. On the other hand, the introduction of Amos and especially Juanita, among other characters, injects bizarre, extra-forthright levity into the proceedings that quite seems to break from from the tone the film had already been trying to establish. Meanwhile, whether as a reflection of their own skill sets or under the direction of Henry Hathaway, the actors are guided into portrayals that seem direct and overt, sometimes to the point of flamboyance, and that goes as well for the dialogue. And the plot, its development, and the characters all appear to me to be written with a "Just So" sensibility such that the picture almost comes off like the western version of a fairy tale, where the world isn't especially populated or sketched out and things are meant to happen just because that's how they're written. I'm not saying any of this as a mark against 'From hell to Texas,' mind you; furthermore, it's not as though there isn't any abject quality here, or that these traits don't also crop up in other titles. Even as the length broaches the halfway point, however, it's especially striking to me in these ways before anything else.
Even noting such peculiarities, though, I admire the simplicity of the tale in the broad strokes - a man on the run, and the people after him. There's also something refreshing about the feature's declination to give the audience especial reason to like or disilke or trust or distrust either party. Even as it emphatically posits Lohman as the hero and the Boyds as villains, save for that Lohman states opposition to killing, this could just as well be a detached story - a portrait, really - of life in the Old West, with a measure of moral ambiguity. The filming locations are beautiful, naturally, and as one quite expects of westerns, the production design, art direction, and costume design are splendid. Any stunts, effects, and bits of action are executed very well, some more notable than others, and broadly probably the best element of the whole; set against the more curious parts of the writing or direction there's some nice cleverness, too. Keep in mind that those curious parts include the casual introduction of a romantic aspect that feels distinctly contrived, and we also get treatment in the screenplay of Comanche that feels tired and somewhat stereotypical, but so it goes for the genre I suppose.
At no time does 'From hell to Texas' achieve a particular peak of vitality, and the more idiosyncratic inclusions never go away. Yet the strength of the film is in focusing on the dynamics between Lohman and the Boyd clan, and accordingly, as the title draws on it seems to improve (so long as it doesn't significantly divert). It helps that cinematographer Wilfred M. Cline made such a vibrant contribution to the production, smart and vivid and most noteworthy of all in any scenes of action. I'm given to understand that the editing of the feature faced a rougher road, yet that facet as it presents is terrific, crisp and mindful. And how can I not complement the DeLuxe coloring that enriches the visual presentation with such luscious hues? Modern works have the benefit of the very best of technology, yet color processing by way of DeLuxe, Technicolor, Eastman, or the like from the mid-twentieth century often seem to far surpass the fanciest, most stylish offerings of the twenty-first, and I sometimes wish the exact same techniques were employed today.
I don't think there's anything about this that stands out so much as to demand viewership. It's generally well made, if imperfect in various ways, but there are also many other movies - from this genre, or others - that are far more outstanding and essential. There are also, however, no flaws so severe as to altogether dampen the experience, so if one does have the chance to watch, it's a decent way to spend one's time. One needn't go out of their way for 'From hell to Texas,' but it's worth checking out if you come across it.
Even noting such peculiarities, though, I admire the simplicity of the tale in the broad strokes - a man on the run, and the people after him. There's also something refreshing about the feature's declination to give the audience especial reason to like or disilke or trust or distrust either party. Even as it emphatically posits Lohman as the hero and the Boyds as villains, save for that Lohman states opposition to killing, this could just as well be a detached story - a portrait, really - of life in the Old West, with a measure of moral ambiguity. The filming locations are beautiful, naturally, and as one quite expects of westerns, the production design, art direction, and costume design are splendid. Any stunts, effects, and bits of action are executed very well, some more notable than others, and broadly probably the best element of the whole; set against the more curious parts of the writing or direction there's some nice cleverness, too. Keep in mind that those curious parts include the casual introduction of a romantic aspect that feels distinctly contrived, and we also get treatment in the screenplay of Comanche that feels tired and somewhat stereotypical, but so it goes for the genre I suppose.
At no time does 'From hell to Texas' achieve a particular peak of vitality, and the more idiosyncratic inclusions never go away. Yet the strength of the film is in focusing on the dynamics between Lohman and the Boyd clan, and accordingly, as the title draws on it seems to improve (so long as it doesn't significantly divert). It helps that cinematographer Wilfred M. Cline made such a vibrant contribution to the production, smart and vivid and most noteworthy of all in any scenes of action. I'm given to understand that the editing of the feature faced a rougher road, yet that facet as it presents is terrific, crisp and mindful. And how can I not complement the DeLuxe coloring that enriches the visual presentation with such luscious hues? Modern works have the benefit of the very best of technology, yet color processing by way of DeLuxe, Technicolor, Eastman, or the like from the mid-twentieth century often seem to far surpass the fanciest, most stylish offerings of the twenty-first, and I sometimes wish the exact same techniques were employed today.
I don't think there's anything about this that stands out so much as to demand viewership. It's generally well made, if imperfect in various ways, but there are also many other movies - from this genre, or others - that are far more outstanding and essential. There are also, however, no flaws so severe as to altogether dampen the experience, so if one does have the chance to watch, it's a decent way to spend one's time. One needn't go out of their way for 'From hell to Texas,' but it's worth checking out if you come across it.