The man who shepherded Stan Laurel and Oliver Hardy through Saps at Sea (1940) their final film for producer Hal Roach, pitted Bela Lugosi against Zombies on Broadway (1945) and made a nest of giant ants believable in Them! (1954), had the challenge of turning TV cowboy Clint Walker into a movie star in this 1958 black-and-white Western. He had a lot of help from Virginia Mayo as the spirited widow Walker rescues from the Comanches, Brian Keith as a wise-cracking gunrunner who has managed to get Walker framed for murder, George W. George and Burt Kennedy's script and a score by Max Steiner. And walker brought the same simple, sincere acting and impressive physique to the film that had made his TV series, Cheyenne, a major hit that sparked a boom in small-screen Westerns. But even with critics raving about "the biggest, finest-looking Western hero ever to sag a horse, with a pair of shoulders rivaling King Kong's" (Howard Thompson, New York Times), the film, didn't enjoy the same success, possibly because audiences weren't willing to pay for what they got for free on television.
By Frank Miller
Fort Dobbs
Brief Synopsis
A frontierswoman suspects the man who rescued her from the Comanches of killing her husband.
Cast & Crew
Read More
Gordon Douglas
Director
Clint Walker
Gar Davis
Virginia Mayo
Celia Gray
Brian Keith
Clett
Richard Eyer
Chad Gray
Russ Conway
Sheriff
Film Details
Also Known As
Fifteen Bullets from Fort Dobbs
Genre
Western
Release Date
Feb
8,
1958
Premiere Information
not available
Production Company
Warner Bros. Pictures, Inc.
Distribution Company
Warner Bros. Pictures, Inc.
Country
United States
Location
Kanab, Utah, United States
Technical Specs
Duration
1h 33m
Sound
Mono (RCA Sound System)
Color
Black and White
Synopsis
After killing a man outside Largo, Gar Davis flees into Comanche-controlled territory and is followed by the sheriff and his posse. Spotting the body of a white man killed by a Comanche arrow, Gar switches his jacket for the dead man's and pushes the body over a cliff, hoping the sheriff will presume the body belongs to Gar. After the ruse succeeds, Gar continues on foot until he reaches a ranch house, where he tries to steal a horse, but is intercepted by young Chad, the son of widowed ranch owner Celia Gray, who takes a shot at him and hits him in the head. Waking up the next morning with a minor head injury, Gar admits he is guilty of attempting to steal the horse, then warns Celia that Comanche surround the ranch. As Gar offers to escort them to the safety of Fort Dobbs, the Indians start a shootout forcing Gar, Celia and Chad to take refuge in the house. Gar and Chad fire at the Comanche until nightfall, when Gar furtively saddles up three horses and flees with Chad and Celia. Riding toward Fort Dobbs, Gar suggests taking the long route to Fort Dobbs to avoid Comanche, prompting Celia to insist that they return to Largo, but Gar sternly refuses. Tired of Gar's orders, Celia decides to ford a stream without his help and falls into the water. Celia wakes up hours later, wrapped in only a blanket, and surmises that Gar saved her from drowning. She apologizes for her foolishness and asks what he is running from, but a sullen Gar refuses to answer. Soon after, Celia recognizes her husband's jacket in Gar's saddlebag and, seeing the bloodied hole, accuses Gar of killing him. Gar tells her he traded his jacket for a dead man's to avert a posse, but Celia refuses to believe him. The next morning, when Clett, an outlaw gun peddler, tries to accompany them to Fort Dobbs, Gar shuns the man. Later, Chad apologizes to Gar for not trusting him, explaining that his dad taught him not to judge people without knowing the facts. Later that day, when Gar tells Celia to wait until he crosses a valley safely before following, Celia accuses Gar of abandoning them, but then watches as Comanche ambush Gar in the valley. While Gar returns fire from behind hillside boulders, a Comanche sneaks up behind him. Clett kills the Indian and helps drive the Comanche away. Soon after, Celia and Chad rejoin Gar and Clett and continue on the long river route to Dobbs. That evening, when Clett shows Gar his merchandise, new automatic rifles that can hold fifteen shells in one chamber, Gar suggests that the unscrupulous Clett would sell the weapons to the highest bidder, including the Comanche. Softened by Clett's flirtations, Celia confides to him that she believes Gar killed her husband. Clett at first offers to escort her to Dobbs if she will sleep with him and then attempts to rape her. Alerted by Celia's screams, Gar orders Clett to leave. Celia then hysterically accuses Gar of killing her husband and Chad overhears her. The next morning, Celia and Gar find that Chad has run away and, when Gar offers to search for him and tell him the truth, Celia asks how Gar will tell the boy he killed his father. Gar retorts, "How do you tell a woman you didn't." Finding Chad, Gar explains that his father died trying to return to Chad and his mother to save them from the Comanche. Doubtful and scared, the young boy vows to kill Gar. Days later, as they near Fort Dobbs, Gar tells them to continue without him. When Chad asks his mother if she believes Gar, Celia reminds him what his father said, "things can appear to be one way, and may be something all together else." As mother and son enter the fort, they find the ground littered with dead soldiers. Spotting the approaching Comanche, Gar joins dozens of men and women in covered wagons racing through the fort's gates to take refuge. After winning the battle, Gar discovers that the refugees are from Largo and the sheriff explains that they fled a Comanche attack on the town. Despite Gar's warning that the Comanche will soon return with reinforcements that will outnumber them, the sheriff reminds Gar that as soon as they win the next battle, he will arrest him for murder. Later, the sheriff tells Celia that Comanche shot her husband with an arrow and that Gar is fleeing the law for the murder of a Largo man with whom his fiancée was having an affair. When Gar offers to risk crossing the Comanche line to seek help in Santa Fe, the sheriff, realizing Gar is their only hope, agrees. As he leaves, Gar tells the sheriff that he only meant to beat his fiancée's lover, but when the man went for a gun, Gar was forced to shoot in self-defense. Celia wishes him a speedy and safe return, finally understanding Gar's great sacrifice for her and for the people of Largo. When Gar meets Clett on his way to Santa Fe and asks him to return to Dobbs with the automatic guns, he refuses, forcing Gar to kill him to save the people of Largo. Hours later, Gar arrives at the fort with the rifles just as the Comanche begin another shootout. Racing through the gates using a stampede of horses as cover, Gar hands out the new rifles, ensuring victory. Later, Celia announces she and Chad are headed for Santa Fe, where they will trade their two horses for train fare to join her family in St. Louis. When the sheriff suggests that Gar escort them there, all realize that Gar's criminal past has been forgiven. As the townspeople head for Largo, Celia, Gar and Chad ride toward Santa Fe to begin a new life.
Director
Gordon Douglas
Director
Cast
Clint Walker
Gar Davis
Virginia Mayo
Celia Gray
Brian Keith
Clett
Richard Eyer
Chad Gray
Russ Conway
Sheriff
Michael Dante
Billings
Crew
Geoffrey Alan
Men's Wardrobe
Hal Barnes
Sound Editing
Gordon Bau
Makeup Supervisor
Marjorie Best
Costume Design
John Burnett
Assistant Editor
Milton Citron
Sound Editing
William Clothier
Director of Photography
William Robey Cooper
Props Master
Florence Crewell
Costumes
Murray Cutter
Orchestration
Richard Doran
Assistant Camera
Elmer Faubion
Assistant Camera
Stanley Fleischer
Art Director
Babe Florence
2d Assistant Director
George W. George
Writer
Joe Halperin
Pub
Emory Hoerger
Dial Supervisor
Louis Jennings
Camera Operator
John Jensen
Boom
Donald A. Johnson
Radio
Burt Kennedy
Writer
William Kissel
2d unit [Director]/Assistant Director
Clarence Kolster
Film Editor
William Kuehl
Set Decoration
Louis P. Mashmeyer
Grip
Everett Miller
Best Boy
Frank M. Miller
Set Decoration
Robert J. Miller
Recording
Ralph Owens
Gaffer
Martin Rackin
Producer
Meta Rebner
Script Supervisor
Frank C. Regula
Cableman
George Reid
Sound Editing
Francis E. Stahl
Sound
Max Steiner
Music
Victor Vallejo
Men's Wardrobe
Marion Vaughn
Hairdresser
Henry Vilardo
Makeup
Levi Williams
Assistant Props
Jack Woods
Stills
Videos
Movie Clip
Film Details
Also Known As
Fifteen Bullets from Fort Dobbs
Genre
Western
Release Date
Feb
8,
1958
Premiere Information
not available
Production Company
Warner Bros. Pictures, Inc.
Distribution Company
Warner Bros. Pictures, Inc.
Country
United States
Location
Kanab, Utah, United States
Technical Specs
Duration
1h 33m
Sound
Mono (RCA Sound System)
Color
Black and White
Articles
Fort Dobbs
By Frank Miller
Fort Dobbs
The man who shepherded Stan Laurel and Oliver Hardy through Saps at Sea (1940) their final film for producer Hal Roach, pitted Bela Lugosi against Zombies on Broadway (1945) and made a nest of giant ants believable in Them! (1954), had the challenge of turning TV cowboy Clint Walker into a movie star in this 1958 black-and-white Western. He had a lot of help from Virginia Mayo as the spirited widow Walker rescues from the Comanches, Brian Keith as a wise-cracking gunrunner who has managed to get Walker framed for murder, George W. George and Burt Kennedy's script and a score by Max Steiner. And walker brought the same simple, sincere acting and impressive physique to the film that had made his TV series, Cheyenne, a major hit that sparked a boom in small-screen Westerns. But even with critics raving about "the biggest, finest-looking Western hero ever to sag a horse, with a pair of shoulders rivaling King Kong's" (Howard Thompson, New York Times), the film, didn't enjoy the same success, possibly because audiences weren't willing to pay for what they got for free on television.
By Frank Miller
Virginia Mayo (1920-2005)
She was born Virginia Clara Jones in St. Louis, Missouri on November 30, 1920, and got her show business start at the age of six by enrolling in her aunt's School of Dramatic Expression. While still in her teens, she joined the nightclub circuit, and after paying her dues for a few years traveling across the country, she eventually caught the eye of movie mogul Samuel Goldwyn. He gave her a small role in her first film, starring future husband, Michael O'Shea, in Jack London (1943). She then received minor billing as a "Goldwyn Girl," in the Danny Kaye farce, Up In Arms (1944). Almost immediately, Goldwyn saw her natural movement, comfort and ease in front of the camera, and in just her fourth film, she landed a plumb lead opposite Bob Hope in The Princess and the Pirate (1944). She proved a hit with moviegoers, and her next two films would be with her most frequent leading man, Danny Kaye: Wonder Man (1945), and The Kid from Brooklyn (1946). Both films were big hits, and the chemistry between Mayo and Kaye - the classy, reserved blonde beauty clashing with the hyperactive clown - was surprisingly successful.
Mayo did make a brief break from light comedy, and gave a good performance as Dana Andrews' unfaithful wife, Marie, in the popular post-war drama, The Best Years of Their Lives (1946); but despite the good reviews, she was back with Kaye in The Secret Life of Walter Mitty (1947), and A Song Is Born (1948).
It wasn't until the following year that Mayo got the chance to sink her teeth into a meaty role. That film, White Heat (1949), and her role, as Cody Jarrett's (James Cagney) sluttish, conniving wife, Verna, is memorable for the sheer ruthlessness of her performance. Remember, it was Verna who shot Cody¿s mother in the back, and yet when Cody confronts her after he escapes from prison to exact revenge for her death, Verna effectively places the blame on Big Ed (Steve Cochran):
Verna: I can't tell you Cody!
Cody: Tell me!
Verna: Ed...he shot her in the back!!!
Critics and fans purred over the newfound versatility, yet strangely, she never found a part as juicy as Verna again. Her next film, with Cagney, The West Point Story (1950), was a pleasant enough musical; but her role as Lady Wellesley in Captain Horatio Hornblower R.N. (1951), co-starring Gregory Peck, was merely decorative; that of a burlesque queen attempting to earn a university degree in the gormless comedy, She¿s Working Her Way Through College (1952); and worst of all, the Biblical bomb, The Silver Chalice (1954) which was, incidentally, Paul Newman's film debut, and is a film he still derides as the worst of his career.
Realizing that her future in movies was slowing down, she turned to the supper club circuit in the 60s with her husband, Michael O'Shea, touring the country in such productions as No, No Nanette, Barefoot in the Park, Hello Dolly, and Butterflies Are Free. Like most performers who had outdistanced their glory days with the film industry, Mayo turned to television for the next two decades, appearing in such shows as Night Gallery, Police Story, Murder She Wrote, and Remington Steele. She even earned a recurring role in the short-lived NBC soap opera, Santa Barbara (1984-85), playing an aging hoofer named "Peaches DeLight." Mayo was married to O'Shea from 1947 until his death in 1973. She is survived by their daughter, Mary Johnston; and three grandsons.
by Michael T. Toole
Virginia Mayo (1920-2005)
Virginia Mayo, the delectable, "peaches and cream"
leading lady of the 40s, who on occasion, could prove herself quite capable in dramatic parts, died on January 17 at a nursing home in Thousand Oaks, CA of pneumonia and heart failure. She was 84.
She was born Virginia Clara Jones in St. Louis, Missouri on November 30, 1920, and got her show business start at the age of six by enrolling in her aunt's School of Dramatic Expression. While still in her teens, she joined the nightclub circuit, and after paying her dues for a few years traveling across the country, she eventually caught the eye of movie mogul Samuel Goldwyn. He gave her a small role in her first film, starring future husband, Michael O'Shea, in Jack London (1943). She then received minor billing as a "Goldwyn Girl," in the Danny Kaye farce, Up In Arms (1944). Almost immediately, Goldwyn saw her natural movement, comfort and ease in front of the camera, and in just her fourth film, she landed a plumb lead opposite Bob Hope in The Princess and the Pirate (1944). She proved a hit with moviegoers, and her next two films would be with her most frequent leading man, Danny Kaye: Wonder Man (1945), and The Kid from Brooklyn (1946). Both films were big hits, and the chemistry between Mayo and Kaye - the classy, reserved blonde beauty clashing with the hyperactive clown
- was surprisingly successful.
Mayo did make a brief break from light comedy, and gave a good performance as Dana Andrews' unfaithful wife, Marie, in the popular post-war drama, The Best Years of Their Lives (1946); but despite the good reviews, she was back with Kaye in The Secret Life of Walter Mitty (1947), and A Song Is Born (1948).
It wasn't until the following year that Mayo got the chance to sink her teeth into a meaty role. That film, White Heat (1949), and her role, as Cody Jarrett's (James Cagney) sluttish, conniving wife, Verna, is memorable for the sheer ruthlessness of her performance. Remember, it was Verna who shot Cody¿s mother in the back, and yet when Cody confronts her after he escapes from prison to exact revenge for her death, Verna effectively places the blame on Big Ed (Steve Cochran):
Verna: I can't tell you Cody!
Cody: Tell me!
Verna: Ed...he shot her in the back!!!
Critics and fans purred over the newfound versatility, yet strangely, she never found a part as juicy as Verna again. Her next film, with Cagney, The West Point Story (1950), was a pleasant enough musical; but her role as Lady Wellesley in Captain Horatio Hornblower R.N. (1951), co-starring Gregory Peck, was merely decorative; that of a burlesque queen attempting to earn a university degree in the gormless comedy, She¿s Working Her Way Through College
(1952); and worst of all, the Biblical bomb, The Silver Chalice (1954) which was, incidentally, Paul Newman's film debut, and is a film he still derides as the worst of his career.
Realizing that her future in movies was slowing down, she turned to the supper club circuit in the 60s with her husband, Michael O'Shea, touring the country in such productions as No, No Nanette, Barefoot in the Park, Hello Dolly, and Butterflies Are Free. Like most performers who had outdistanced their glory days with the film industry, Mayo turned to television for the next two decades, appearing in such shows as Night Gallery, Police Story, Murder She Wrote, and Remington Steele. She even earned a recurring role in the short-lived NBC soap opera, Santa Barbara (1984-85), playing an aging hoofer named "Peaches DeLight." Mayo was married to O'Shea from 1947 until his death in 1973.
She is survived by their daughter, Mary Johnston; and three grandsons.
by Michael T. Toole
Quotes
Trivia
Notes
The working title of the film was Fifteen Bullets from Fort Dobbs. William Kissel's onscreen credit reads "Second unit and assistant director." Fort Dobbs marked the first leading role in a feature film for actor Clint Walker, who was well known for his starring role in the television series Cheyenne. Location shooting took place in Kanab, UT. A modern source adds Bud Osborne to the cast.