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EXPLOITATION PICTURE
Confidently straddling her "horse", Marlene Dietrich gets set for a "handicap" race across the barroom floor.
RANCHO NOTORIOUS
Folk-ballads have been the source of many good movies. It kould seem logical that an occurrence arousing enough sentiment to make it legendary and to have it recorded in song for posterity would have the makings of screen fare catering to the pass entertainment appetite. The ballad on which this film is ksed. "The Legend of Chuck-a-Luck" offers a wealth of such ingredients. The song, running through the film periodically, pis of a young man (Arthur Kennedy I who sets out on a nission of vengence to find the unknown killer of his betrothed.
raveling through six states, he finally gets his first clue to tbe
lurderer's whereabouts, a ranch run by a fabulous barroom pnger (Marlene Dietrich I as a hideout for outlaws. By helping I gunman (Mel Ferrer) escape jail, he gains entrance to the tanch, discovers the killer's identity through the barroom
inger. When he turns the killer over to the authorities, the
I ARCH 24. 1952
outlaws free the imprisoned murderer and ride to the ranch to vent their venom on the singer. In the ensuing battle. Kennedy and Ferrer shoot it out with the outlaws, but a sniper's bullet kills the singer as she attempts to protect the gunman. Thus the ballad ends.
Enhanced bv Technicolor. Fritz Lang's direction, a fullbodied production by Howard Welsch, and the inimitable La Dietrich, the ballad is filled in by a wealth of detail that makes for popular movie entertainment. The "horse race with no horses", where the delectable entertainers ride the brawny bandits across the barroom iloor in a "handicap" race, the jailbreaks, the hand-to-hand battles, an exciting bank hold-up. the Dietrich delivery of the songs, are all "extras" that keep the spectator's interest from wavering throughout the film, and should have them in a happy frame of mind when they leave.
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