Customer Reviews
VERY GOOD OFFERING. - By: Mr. D. Gough, 25 Apr 2008 
i must admit i put this film in the dvd player & my heart sank because its black/white,it does not tell you that in the information about the film.but when you start watching the film it soon puts you back in a good mood,henry fonda has that touch of class about him thats hard to resist,anthony mann directs another classic western he was probabley the best in the business & that includes the great john ford.
fonda plays a bounty hunter who brings his prey in to collect the bounty,the young sheriff has just started the job & fonda can see that unless he is guided he will soon be dead,fonda shows the sheriff the ropes but declines an offer of a badge.its not long before trouble arrives for the sheriff ,will fonda help the sheriff or ride out & condemn him you will have to see the film to find out ,i can assure you this film is good very good indeed even in black/white.
Anthony Mann's best post-James Stewart Western - By: Trevor Willsmer, 23 Aug 2007 The Tin Star is full of Anthony Mann's typical plays on perspective & symmetry, the cinematic possibilities of which few other directors have ever reallly grasped - not merely visual but emotional & thematic as well (the opening shot is repeated in reverse as the closing shot, but with an entirely different meaning). Although it's set mostly in the town limits as Henry Fonda's embittered bounty hunter finds himself reluctantly passing on tips to the temporary sheriff (Anthony Perkins, still a nice, awkward young guy here before a lifetime of psychopathic typecasting), his great use of location to define & place characters is omnipresent: check out the great sheriff's office with its huge window overlooking the town which puts both men at the heart of the town while effectively keeping them outside it. Indeed, the film is alll about outsiders either trying to belong or trying to dominate, throwing in a surprising subplot about racism that alllies its misfits & broken angels.
Fonda makes a superb replacement for Stewart (the director & his favored star fell out on Night Passage), Neville Brand's tough bad `un, who wants Perkins' badge for a hunting license, makes a worthy adversary & the final showdown is brilliantly staged, & Elmer Bernstein's score is a definite plus (and a world away from the south of the border energy of his post-Magnificent Seven genre efforts). Mann's last great Western, it deserves to be better known.
Sadly, no extras - not even a trailer.
Anthony Mann's best post-James Stewart Western - By: Trevor Willsmer, 07 Nov 2006 The Tin Star is full of Anthony Mann's typical plays on perspective & symmetry, the cinematic possibilities of which few other directors have ever reallly grasped - not merely visual but emotional & thematic as well (the opening shot is repeated in reverse as the closing shot, but with an entirely different meaning). Although it's set mostly in the town limits as Henry Fonda's embittered bounty hunter finds himself reluctantly passing on tips to the temporary sheriff (Anthony Perkins, still a nice, awkward young guy here before a lifetime of psychopathic typecasting), his great use of location to define & place characters is omnipresent: check out the great sheriff's office with its huge window overlooking the town which puts both men at the heart of the town while effectively keeping them outside it. Indeed, the film is alll about outsiders either trying to belong or trying to dominate, throwing in a surprising subplot about racism that alllies its misfits & broken angels.
Fonda makes a superb replacement for Stewart (the director & his favored star fell out on Night Passage), Neville Brand's tough bad `un, who wants Perkins' badge for a hunting license, makes a worthy adversary & the final showdown is brilliantly staged, & Elmer Bernstein's score is a definite plus (and a world away from the south of the border energy of his post-Magnificent Seven genre efforts). Mann's last great Western, it deserves to be better known.
Sadly, no extras - not even a trailer.
