SoftInloveRox Horrible, fascist and poorly acted

ScoobyWell Great visuals, story delivers no surprises

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Orla Zuniga It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

Spikeopath The Forty-Niners is directed by Thomas Carr and written by Dan Ullman. It stars Wild Bill Elliott, Harry Morgan, Virginia Grey, John Doucette and Lane Bradford. Music is by Raoul Kraushaar and cinematography by Ernest Miller. 1849. There was gold in California. According to the Eastern newspapers the mountains and streams were full of it. People from all over the country came here by the thousands, and were called The Forty Niners. Some of them worked hard for their golden dreams - - others robbed, plundered and killed for the gold. The entire burden of law enforcement had to be done by a handful of men - - the few United States Marshals the Federal Government could spare to protect its citizens…Wild Bill Elliott goes under cover to find out the identity of some dastard killers in this pleasant mystery based black and white Oater. Backed by an Elliot voice narration throughout, it's obvious that Carr and Ullman are firmly tuning into a Dragnet for the Western crowd vibe, and it actually works. With Elliott proving to be a likable lead man and Morgan enjoying himself as a shifty card cheat and blackmailer, the material on the page is delivered with entertaining gravitas. The pace is brisk, the action plenty and there's enough twists in Ullman's screenplay to keep you guessing. Yes for sure the ending is never in doubt, this is classic "B" Western territory after all, but a good time to be had here for the discerning Western fan. 6.5/10

dougdoepke Elliott, a US Marshal, goes undercover to catch three killers. In the process, he befriends one of them, Morgan, and finds out his job is not as morally easy as he thought.I was expecting a matinée western with the usual formula plot and stock characters. But this is not a formula matinée. Two of the chief characters—Morgan and Bradford—are morally ambiguous. That is, they are as capable of high deeds as well as low, sort of like real people. Also, Morgan, I believe, has more screen time than ostensible hero Elliott. I'm not sure why, maybe because Elliott is a middle-age 50, and wants to slow down. Also, it's Morgan who attracts the good-looking woman, while Elliott is all business.I suspect the 70-minutes departs from the standard since it comes at the end of the matinée era. Instead, TV was taking over the cheap western. Anyway, the film is better than its lowly pedigree indicates, and can stand on its own as a slice of sagebrush entertainment. And, oh yes, shouldn't leave off without paying tribute to Wild Bill, this being his final western. He was one of the few matinée cowboys who could act tough and make you believe it. I think it was the narrow eyes and resonant voice. Anyway, he sure gave me a lot of entertainment over the years. Good luck, Bill, wherever you are-- you went out on a pretty good little western.

boblipton Wild Bill Elliott stars in one of his last westerns for Allied Artists -- basically Monogram with a budget -- in this story about a marshal hunting for someone who is killing miners for their claims during the California Gold Rush.The story is compressed a bit by having Elliott narrate the beginning of the story. However, with his low-affect acting style and the overly full writing of the narration, it comes off like a long episode of TV's DRAGNET on horseback. Add in Harry Morgan, who spent the end of the 1960s as the second lead on the current version of the show -- well, from this distance it looks like a burlesque of Jack Webb's. In reality, it was probably simply an attempt to add some up-to-date techniques to the oldest film genre.It didn't work. Elliott would retire from the cowboy B movies -- he would switch to mysteries -- and the B westerns themselves would migrate to the television screen and then would die. The mythology of the West was no longer the myth of the country. Science Fiction was already moving in.

bkoganbing The Forty Niners may be a western, but it has the tone and documentary approach of a film like Calling Northside 777 or The House On 92nd Street modern crime dramas. It could also be compared to Dick Powell's Station West, a noir like western.Wild Bill Elliott did this one for Allied Artists and it's a no frills western with accent on characterization as opposed to action, though we have enough of that. Elliott is a US Marshal working undercover to find out who killed one of his peers. It was a modern contract killing and they've got the guy who paid to have it done. He gave up the name of the middle man who arranged the contract and Elliott searches for him to lead him to the killers.That middle man is Harry Morgan, a small time crooked gambler who has other sidelines. The rather strange bond that forms between Elliott and Morgan is what drives The Forty Niners. In fact in a way Morgan gets the girl here in the person of Virginia Grey who is married to one of Elliott's suspects. The Forty Niners which title fixes the year and place the story takes place in is a good western with some really good characterizations. It was one of Harry Morgan's best screen roles and if you see it I'm sure you will agree.