Ramrod

De Toth excelled at small and intense, and this is no exception. It's one of those great late-40s noir westerns, in the visual mold of My Darling Clementine. Crisp and McCrea are predictably solid, but an un-made up Veronica Lake steals the show in a hard and captivating role.

I like the way the film explores the ridiculous idiosyncrasies of justifications for violence in Westerns, where invisible lines exist all over the place and provocation is in the eye of the beholder (and the screenwriter). Throw in a bit of personal ambition and conflicted emotions and you have a very fine film. I've seen all of these things done better, but that doesn't diminish this being good.

I agree with another reviewer that this is an unspectacular though fast paced and straightforward movie. The strong acting and surprisingly complex characters raised it up for me.

Precisely the sort of well-made, unpretentious Western that always gets underrated. It's not without faults, but consistently watchable and exciting

god damn veronica lake.

A very decent and enjoyable western and noir. Only one minor issue that keeps it from being really good or even great; I don't think Veronica Lake is up to the task of portraying such an interesting layered character.

Em honra do centenário de Veronica Lake. Escolhi um Lake fora da seara noir e foi certeiro, como é usual ao De Toth. Apesar de ter seu parceirinho de Sullivan's Travels como co-protagonista, quem rouba toda a cena é mesmo Lake na sua jornada de ambição desmedida digna das melhores femme fatales. Box Versátil Cinema Faroeste Volume 3.

A quite unspectacular western but its fast pace and straighforward storytelling are there to improve it.

Ramrod (1947) was a lurker. Everything had a weird dynamic that hardened the relations between the characters. None more so than for Veronica Lake and the men surrounding her. There was something very intriguing there, but I'm not sure they got the most out of it.