What a change James Stewart’s rep took in the Fifties: in this, his third western collaboration with director Anthony Mann, he is perfectly neurotic, hysterical even, as the greed-driven bounty hunter. He teams up with an old-timer prospector (Millard Mitchell) and a former soldier (Ralph Meeker) to track down marshal-killer Robert Ryan (he made two other films with Mann: Men in War and God’s Little Acre). They think Stewart is a sheriff. Then when Ryan’s found, he tells them about the number on his head and he’s accompanied by his ward, Janet Leigh. Ryan pits them all against each other and the tensions play out against a tremendously photographed landscape: Durango, the San Juan Mountains and Lone Pine, California (the Hollywood of the Rockies, as Stewart dedicated a monument during production). Stewart is tremendous, so too is Leigh. What is it about her that made so many great directors work with her? She did Touch of Evil with Welles; Psycho with Hitchcock; and The Manchurian Candidate, directed by John Frankenheimer and looking far more spookily relevant the more we learn about insider politics in Washington and the Kennedy ‘lone assassins’. Her exchanges with Stewart here are wonderful. She can really carry a scene and she looks great. Mitchell died aged fifty soon after production was concluded. Stewart had two other films directed by Mann on release the same year: Thunder Bay and The Glenn Miller Story, both good (and good looking) in their way but nothing like as striking as this. It got an Academy Award for the screenplay by Sam Rolfe and Harold Jack Bloom – something that rarely happens for a western.