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Vengeance Valley
Vengeance Valley
Vengeance Valley
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Vengeance Valley
Theatrical poster
Directed byRichard Thorpe
Screenplay byIrving Ravetch
Based onVengeance Valley
1950 novel
by Luke Short
Produced byNicholas Nayfack
Starring
CinematographyGeorge J. Folsey
Edited byConrad A. Nervig
Music byRudolph G. Kopp
Production
company
Distributed byLoew's Inc.
Release date
  • February 16, 1951 (1951-02-16)
Running time
83 minutes
LanguageEnglish
Budget$1,008,000[1]
Box office$3,146,000[1]

Vengeance Valley is a 1951 American Technicolor Western film directed by Richard Thorpe and starring Burt Lancaster, with a supporting cast featuring Robert Walker, Joanne Dru, Sally Forrest, John Ireland and Ray Collins. It is based on the novel by Luke Short. In 1979, the film entered the public domain in the United States because Metro-Goldwyn-Mayer did not renew its copyright registration in the 28th year after publication.[2]

Plot

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Vengeance Valley (1951)

Owen Daybright is the foreman at the Colorado cattleman Arch Strobie's ranch and is also Strobie's foster son. When Owen and his foster brother Lee Strobie visit the local saloon they hear that Lily Fasken has had a baby. The doctor says he didn't attend the birth because the father didn't ask for him. Lee is very interested in the birth. Owen takes some food, and $500, to Lily and finds Lee's wife Jen and Lily's brother Dick at the house. Dick has been trying all day to find out who the father of Lily's baby is. Owen is very concerned for Lily's welfare. Jen asks him who the father is but Owen doesn't reply. Dick suspects that Owen is the father but Jen tells him that it isn't as Owen is a good man.

Back at the saloon Lee thanks Owen for helping Lily and covering up for him, saying he can't admit being the father as Jen wouldn't understand. Dick arrives and threatens Owen with a gun, but they are interrupted by the sheriff.

At the Strobie ranch Owen tells Arch that now that Lee is married, Arch, who has been crippled for 20 years, doesn't need Owen's help any longer. Arch explains that he took Owen in because he needed him to help run the ranch and to keep Lee in line, and that he still does. Owen agrees to stay.

Lily and Dick's brother Hub arrives by train and tells the sheriff he's going to kill somebody, but he doesn't know who, yet. Dick tells Jen he will get the truth out of Owen. Owen and ranch-hand Hewie visit Mrs Grant, where Lily is staying. Dick and Hub arrive soon afterwards. Dick and Owen fight before Lily interrupts them armed with a gun. She tells Owen to take her brothers to the sheriff.

Jen finds out that Lee has taken $500 out of their joint account. She confronts Lee who says that Owen is the father of Lily's baby but Jen doesn't believe him. Jen threatens to leave, but Owen talks her out of it saying Arch needs them both. Later, Lee finds Jen has locked him out of their bedroom. He tells Arch he wants to go out on his own. Arch asks what it will take to make him stay. Lee says a half share of the ranch. Arch reluctantly agrees, saying Owen will inherit the other half when Arch retires or dies.

Owen, Lee and Hewie track four of their stolen steers to Herb Backett's. Owen can't prove the steers were there and beats up Backett, getting a knife wound in the process, before he and Hewie take four of Backett's steers as "compensation". Lee takes no part in the fight nor the taking of the steers and offers to pay Backett for them. Backett agrees but says he will get even with Owen. Lee is unconcerned. Later, during a party at their ranch, a drunken Lee interrupts Jen after she has dressed Owen's wound, and mistakenly concludes Owen and Jen are carrying on.

Lee plots with Backett to have Dick and Hub join the spring roundup after they get out of jail. This will give them a chance to go after Owen. The roundup is split into east and west divisions, with Owen and the Strobie ranch hands in one and Lee and the Fasken brothers, who he admits knowing but claims not to like, in the other. Lee arranges to sell the Strobie steers to Dave Allard. Allard rides off to the telegraph office to arrange payment. In a heavy rainstorm Allard misses the telegraph office and ends up at Owen's camp. He tells Owen that he has bought the Strobie cattle. Owen is surprised but says nothing to Allard, but later tells Hewie he thought Lee might do something like this. Hewie admits he has feelings for Lily. When the two divisions meet Owen tells Lee he knows what's up. Hewie spots the Faskens and tells Owen. Owen realises Lee must have known but said nothing to him.

Lee later tells Owen he has changed his mind and will cancel the sale to Allard but wants Owen to go with him to help cancel the deal. In the meantime the Faskens are waiting to ambush Owen. The Faskens shoot Owen who falls from his horse, but he is only slightly wounded. Lee rides away. Hewie hears the shooting and takes some men to find out what is happening. Owen shoots Dick and when Hub sees Hewie and the others arrive he rides off, but is shot when the others are close enough. Owen recovers his horse and goes after Lee. Lee falls off his horse crossing a river and Owen catches up with him. Owen says they're going to tell Arch everything. Lee says he won't go, thinking he can draw faster than Owen. He draws but Owen is faster and kills him.

Owen tells Arch the whole story. Arch says it his own fault for not straightening Lee out himself.

Cast

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Reception

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According to MGM records the film earned $1,997,000 in the US and Canada and $1,149,000 elsewhere, resulting in a profit of $3,138,000.[1]

About

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The final scenes are shown in the film Little Odessa.

See also

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Vengeance Valley

View on Grokipedia
from Grokipedia
Vengeance Valley is a American directed by and starring as the honest ranch foreman Owen Daybright, alongside Robert Walker as his resentful adoptive brother Lee Strobie. The story centers on the strained relationship between the two sons of wealthy cattle baron Arch Strobie, where Owen, an adopted by Arch, faces and conflict as Lee impregnates a out of wedlock and frames Owen to cover his actions, leading to a climactic confrontation amid the ranching empire's power struggles. Released by (MGM), the film features supporting performances by as Jen Strobie, as Lily Fasken, and Ray Collins as Arch Strobie, and was adapted from the novel Vengeance Valley by . Shot on location in California's mountains to depict the setting, it explores themes of family loyalty, jealousy, and retribution in , earning praise for its vivid and Lancaster's stoic portrayal of integrity under pressure. Despite mixed critical reception upon release, with some noting its formulaic plot, the movie has gained appreciation as a solid B-Western showcasing Lancaster's rising stardom before his breakout in more acclaimed roles.

Development and production

Source material and adaptation

Vengeance Valley originated as a Western novel written by , the pseudonym of Frederick Dilley Glidden, and first published in book form by Houghton Mifflin Company in 1950, after in from December 3, 1949, to January 14, 1950. The narrative explores themes of family conflict amid the rugged landscapes of ranch life, centering on tensions between adopted and biological sons of a . Metro-Goldwyn-Mayer (MGM) acquired the rights to the novel in for into a , with Nicholas Nayfack overseeing the project and allocating a of $1,008,000. The was penned by Irving Ravetch, who transformed Short's into a cinematic script that retained the core story while streamlining elements for the screen. Ravetch's highlighted moral dilemmas and , key drivers of the plot's interpersonal dynamics. Key modifications in the film included a heightened emphasis on and redemption, which amplified the emotional stakes of the characters' relationships compared to the . Certain subplots were omitted to accommodate the film's 83-minute runtime, allowing for a tighter focus on the central conflicts without diluting the Western genre's action-oriented pace. Director joined the production during pre-production, contributing to early decisions on tone and structure. was cast in the lead role, bringing his established dramatic presence to the adaptation.

Casting and crew

Burt Lancaster was cast in the lead role of Owen Daybright, marking his first appearance in a Western film following his signing of a multiple-picture contract with Metro-Goldwyn-Mayer in 1950. Robert Walker portrayed the antagonist Lee Strobie, in what would be his final film for MGM before his death from a drug overdose in August 1951. The casting of Walker came amid his ongoing struggles with alcoholism and mental health issues, which had intensified after his divorce from Jennifer Jones and affected his career in the late 1940s. The supporting cast featured as Jen Strobie, as Lily Fasken, as Hub Fasken, and Ray Collins as the rancher Arch Strobie, selections that drew from the character dynamics in Luke Short's source novel to emphasize familial tensions. These actors were chosen to provide contrast to the leads, with Dru bringing established dramatic presence from prior Westerns like Red River and Forrest from dramatic roles in films such as Not Wanted. Behind the camera, the film was directed by , a veteran of over 70 Westerns known for his efficient production style that kept schedules tight and budgets controlled at . Cinematographer George J. Folsey handled the photography, leveraging his expertise in vibrant outdoor visuals. was overseen by Conrad A. Nervig, a longtime collaborator with multiple Oscar nominations, while the score was composed by Rudolph G. Kopp, contributing atmospheric tension through orchestral cues typical of 1950s Western soundtracks. Producer Nayfack managed the overall assembly, ensuring the project aligned with 's post-war push into color Westerns.

Filming and technical details

Principal photography for Vengeance Valley commenced in early June 1950 and wrapped by early July of the same year, allowing for a swift production timeline ahead of its February 1951 release. Much of the filming occurred on location in Canon City, Colorado—where the film also premiered—as well as in Coal Creek and Oak Creek, to authentically depict the rugged ranch landscapes central to the story's Western setting. Additional scenes were completed at Metro-Goldwyn-Mayer's studios, complementing the outdoor work with controlled interior environments. The film was shot , enhancing the vibrant hues of the terrain and cattle sequences to evoke the expansive American West. Its final runtime measures 83 minutes, presented in a 1.37:1 typical of the era's standard widescreen precursors. Audio was recorded in mono using the Sound System, providing clear dialogue and atmospheric effects suited to the genre's emphasis on natural soundscapes. Director Richard Thorpe's efficient approach ensured the project stayed on schedule without reported major incidents, though the remote locations posed typical logistical demands for crew and equipment transport.

Narrative and characters

Plot summary

In the ranchlands, wealthy Arch Strobie has raised his biological son Lee and adopted Owen Daybright, who has grown into the loyal foreman of the family . While on a cattle drive, Lee fathers an illegitimate child with local waitress Lily Fasken but, fearing scandal, convinces the honorable Owen to take the blame and leave town to protect the family name. Upon returning from the drive, Owen secretly provides Lily with $500 and supplies after she gives birth, but she refuses to name the father. Tensions rise when Lily's brothers, led by the vengeful Hub and including Dick, learn of the and mistakenly believe Owen is responsible; they confront him in a saloon, demanding he marry Lily or face retribution. Lee's resentment toward his adopted brother deepens, exacerbated by his wife Jen discovering his , which strains their . Advised by Owen to confess and flee, Lee instead betrays him further by plotting to sell the ranch's cattle herd for personal gain and hiring the brothers to ambush Owen during another drive, framing him for theft. The conflict erupts into violence when the Fasken brothers attack Owen en route, but ranch hand Hewie and allies intervene, killing Dick and Hub in the ensuing shootout. Owen uncovers Lee's scheme and confronts him at a river in Vengeance Valley, where Lee attempts to draw first in a deadly showdown; Owen kills him in . Returning to , Owen reveals the truth to the grieving Arch, who reflects on his failures as a father and the destructive rivalry between his sons, ultimately affirming Owen's place in the family through his unwavering loyalty and sacrifice.

Cast and roles

Burt Lancaster stars as Owen Daybright, the honorable foreman of the Strobie ranch who remains steadfastly loyal to his adoptive family despite mounting conflicts. This marked Lancaster's first leading role in a Western, where his athletic physicality and acrobatic background from his circus days were prominently featured in the film's action sequences, including horseback chases and confrontations. Robert Walker portrays Lee Strobie, the jealous and wayward biological son of the ranch patriarch, whose impulsive actions drive much of the family discord. Vengeance Valley was Walker's final completed film for , released shortly before his death in August 1951 at age 32, and it highlighted his ability to convey emotional depth and vulnerability in a complex antagonistic role. Joanne Dru plays Jen Strobie, the wife of Lee Strobie who navigates the family's internal tensions with poise. Dru brought her established experience in dramatic Westerns to the role, having previously appeared in Howard Hawks's Red River (1948), where she demonstrated her skill in portraying resilient women amid frontier hardships. Sally Forrest portrays Lily Fasken, a young woman whose tragic circumstances ignite the central feud, emphasizing themes of and loss. As a rising star in musicals and dramas, Forrest's performance added emotional weight to the character's brief but pivotal arc. John Ireland appears as Hub Fasken, one of the vengeful brothers seeking retribution for their family's honor. Ireland, a veteran of supporting roles in notable Westerns like Red River (1948) and (1946), brought intensity to the antagonistic figure through his brooding presence and experience in frontier tales. Ray Collins embodies Arch Strobie, the authoritative patriarch whose declining health underscores the generational clashes on the ranch. Known for his authoritative portrayals in films like (1941), Collins provided a grounded, paternal stability to the ensemble. In supporting roles, plays the rough-edged ranch hand Herb Backett, contributing to the rugged crew dynamic, while Carleton Carpenter as Hewie delivers the film's narration and adds youthful levity as another ranch worker. rounds out the Fasken family as Dick Fasken, the hot-headed younger brother, in an early screen appearance before his breakout as in . The film contrasts the brotherly dynamic between Owen and Lee, with Lancaster's upright, capable foster brother serving as a foil to Walker's volatile, self-destructive sibling, heightening the tension through their shared history and diverging paths.

Themes and style

Central themes

Vengeance Valley explores the theme of through the strained relationship between Owen Daybright, the adopted son of rancher Arch Strobie, and his biological son Lee, highlighting tensions between chosen family loyalty and blood ties. Owen's unwavering protection of the irresponsible Lee, despite Lee's resentment and betrayal, underscores the conflict between foster bonds and inherited privilege, as Owen assumes blame for Lee's illegitimate child to shield the family name. This dynamic draws on the archetype, where the virtuous sibling faces persecution from the envious one, culminating in a fatal confrontation that affirms Owen's sacrificial role. The film delves into redemption and vengeance, portraying a initiated by deception and broken through , with subtle Christian undertones of evident in Arch's affirming words to Owen at the resolution. Owen's decision to conceal Lee's paternity leads to pursuit by the wronged brothers, escalating to bloodshed, but his ultimate act of confronting and killing Lee in allows for familial and personal . Arch's recognition of Owen as a true son emphasizes themes of grace over retribution, suggesting that and integrity can redeem even in the face of inevitable violence. Central to the narrative are Western archetypes of honor in life, embodied by Owen's adherence to amid hardships, and evolving roles illustrated through Lily's arc from victimized to empowered figure rejecting vengeance. Lily, impregnated by Lee, initially suffers silently but asserts agency by demanding accountability and prioritizing her child's future over retaliation, challenging traditional expectations of passive in the genre. This reflects broader motifs of personal honor driving actions in isolated Western settings, where individual ethics clash with communal justice. Moral ambiguity permeates the story, with no clear villains as characters grapple with the consequences of and divided loyalties rather than outright . Lee's treachery stems from and weakness, while Owen's leads to lethal outcomes, blurring lines between and tragic figure in a world where protective lies perpetuate conflict. The film's focus on interpersonal fallout from hidden truths invites reflection on ethical gray areas in and .

Visual and narrative style

The film's narrative structure follows a predominantly linear progression, augmented by intermittent narration from Hewie, which provides contextual guidance without extensive deviations into flashbacks. This straightforward approach, confined to an 83-minute runtime across nine reels, establishes a tight pacing that steadily escalates tension toward the story's valley-set climax. Visually, Vengeance Valley leverages to render the landscapes in vibrant hues, with George J. Folsey employing wide shots of the rugged valleys around Cañon City, Coal Creek, and to underscore themes of isolation and vastness. These expansive exteriors contrast with more intimate indoor settings, amplifying interpersonal conflicts through spatial confinement. Director applies a conventional Western formula, prioritizing character dynamics while directing action sequences—such as fistfights and confrontations—with energetic to propel the forward. Editor Conrad A. Nervig supports this with efficient cuts that balance dialogue-heavy moments and bursts of intensity, contributing to the overall steady rhythm. The score by Rudolph G. Kopp complements these elements by accentuating emotional undercurrents and heightening key dramatic beats. These stylistic choices reinforce the film's exploration of familial and moral tensions.

Release and reception

Distribution and box office

Vengeance Valley premiered on February 6, 1951, in , with a special screening in the town where much of the film was shot, followed by a New York opening on February 14 and a wide U.S. release on February 16 by (). The film was distributed in Technicolor prints across domestic theaters, with handling the rollout to capitalize on the studio's established network of exhibitors. Internationally, it reached markets in and . Marketing efforts featured posters highlighting the rivalry between stars and Robert Walker, often depicting dramatic confrontations to draw audiences to the Western genre's themes of and conflict. Promotional tie-ins also linked the film to its source novel by , encouraging cross-sales through bookstores and theater lobbies. Financially, the production had a of $1,008,000. According to , it grossed $1,997,000 in the U.S. and and $1,149,000 overseas, for a worldwide total of $3,146,000, yielding a profit of $841,000.

Critical and audience response

Upon its release in , Vengeance Valley garnered generally positive reviews from contemporary critics, who highlighted its strong performances and family-oriented drama while noting some narrative predictability. described it as a solid Western with considerable excitement and an almost documentary quality in its extended cattle roundup sequences, though it critiqued the excessive that occasionally slowed the pacing and rendered the plot somewhat predictable. Robert Walker's performance as the antagonistic Lee Strobie was praised for its authority. In modern reception, Vengeance Valley has been reevaluated as a character-driven Western that prioritizes interpersonal drama over gunplay, earning modest but appreciative scores from aggregate sites. On , it holds a 5.9 out of 10 rating based on over 2,000 user votes (as of 2023), with praise for Lancaster and Walker's chemistry in exploring themes of and . reports a 100% approval rating from critics (as of 2025), albeit from a small sample of five reviews, which highlight its engaging story and solid direction by . users rate it 3.1 out of 5 from nearly 800 logs (as of 2023), often commending the film's focus on moral complexity rather than action spectacle. The film received no major awards or nominations upon release or in retrospective honors. Audience perspectives echo critical sentiments, with viewers appreciating the moral depth of the and the vibrant cinematography that captures the Rocky Mountain landscapes effectively. However, some express criticisms regarding the pacing in non-action scenes, where the dialogue-heavy family confrontations can feel drawn out compared to the brisk cattle-rustling sequences. Overall, Vengeance Valley is frequently noted as an underrated entry in Burt Lancaster's Western , valued for its psychological nuance despite its modest initial impact. Its performance suggested a degree of popular appeal at the time.

Legacy

Public domain status

Vengeance Valley, released in 1951, entered the in the United States because (MGM) failed to renew its copyright under the , which granted an initial term of 28 years for works published before 1978, requiring renewal during the 28th year to extend protection. The film's , dated 1950 by Loew's Incorporated (MGM's parent company), set the renewal period ending in 1978; the failure to timely renew resulted in the lapse of the copyright. Consequently, as of January 1, 1979, Vengeance Valley became free for unrestricted reproduction, distribution, adaptation, and public performance within the , without need for permission or royalties. This status has facilitated widespread accessibility, with complete copies available on digital archives like the , where it is hosted under a designation. The film's entry has implications for preservation, as fan-driven uploads are prevalent on platforms such as , often in varying quality without studio oversight, though no official restorations or high-definition remasters have been produced by or its successors. Legally, this public domain applies only to U.S.-published versions; in other countries, the film may remain under copyright protection pursuant to international treaties like the , potentially requiring verification for global use.

Cultural impact and references

Vengeance Valley exemplifies the shift in Westerns toward more psychologically complex narratives, emphasizing family tensions and moral dilemmas over straightforward gunfights, as seen in its exploration of and loyalty. The film's "adult" storyline, involving themes of illegitimate birth and betrayal, distinguished it from earlier genre entries and contributed to the evolution of the Western by incorporating deeper emotional undercurrents. The picture marked Burt Lancaster's debut in the Western genre, demonstrating his physical prowess and dramatic range in a role that paved the way for a quarter of his filmography in Westerns, including later successes like The Kentuckian (1955) and The Professionals (1966). For Robert Walker, it was his final MGM production, delivered shortly before his untimely death in 1951 at age 32; his portrayal of the resentful Lee Strobie is often noted for its intense tragic quality, reflecting Walker's own personal turmoil and enhancing the film's emotional depth. Since entering the in 1979 due to MGM's failure to renew its , Vengeance Valley has become freely accessible, facilitating its preservation and occasional use in educational contexts or fan restorations, though specific parodies remain limited. The film's themes of , familial conflict, and vengeance have occasionally informed broader cinematic discussions on moral ambiguity in American storytelling, with excerpts appearing in compilations of Westerns. It receives sporadic screenings at regional film events and classic movie nights, such as outdoor presentations at the California Trail Interpretive Center, underscoring its enduring, if niche, appeal among genre enthusiasts.
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