Burl Ives, knocking out the title ballad in his instantly recognizable tones, is the welcome mat laid out by the film. The setting is slightly novel. High in the hills and mountainous crags is the crib for our story. Sierra gives numerous hints at its modest budgeting. This is no grand, windswept epic and yet it does not need to be.
It opens with our leading loner Ring Hassard (Audie Murphy) who finds, of all things, a girl in the underbrush. Living an isolated existence as he does, the curt young man is slightly distrusting of human beings. It doesn’t help that they meet after she has scared away some wild horses he was stalking.
This is Sierra Vista. Hassard lives in the solitude with his father (Dean Jagger) raising their stock of horses and enjoying a simple life away from the prying eyes of the town miles below.
They have few acquaintances and fewer friends. One man who might fit the bill is the itinerant apothecary Lonesome (Ives), traveling lazily by mule, strumming away, with a tune for every occasion. I’m rather fond of Ives’ sleepy ditties, and the western was made for such asides, though there is quite the multitude. After Jeff Hassard is injured by a bucking steed, it’s the old-timer who patches him up. However, it’s only a maintenance job.
Ring continues with their work single-handedly, and in one representative encounter, he runs into a lowdown horse thief named Big Matt (Richard Rober), who unfortunately finds himself on the right side of the law. In another turning point, the irrepressible Ms. Riley Martin (Wanda Hendrix) gets ambushed by a rattlesnake and a fearless Ring shoots the poison out of her arm. It breaks with any form of reason I’ve ever heard of. Regardless, it sends the story hurtling toward a new conclusion.
He breaks his lifelong vow to never go into the town of Sierra Vista. Soon enough, people are lauding his quick thinking, and, of course, asking questions about where he materialized from.
When word gets out about him and his unfairly maligned father, a narrative has already been written about them. The town knows only reputations. He is a menace to society, and they all but confirm his prevailing distrust in his fellow human beings. Foregoing all the normal systems of law and order — suspicious of all types of authority — he doesn’t do himself much good. Between her uncooperative client and a ridiculing public, Riley’s position as counselor to the accused is not one to be coveted.
Soon thereafter, the sheriff takes calls for a posse of men to comb the adjoining hills. Meanwhile, one of the town’s shifty characters, with a claim to our eligible heroine, looks to commit to a stealthy operation of his own with Big Matt — parallel to the law’s endeavors — and far more dubious.
Ring finds himself having no other choice but to play fugitive and outlaw — the card that has been dealt him — joining with a clan of curmudgeon mountain men, who have been regarded with the same animosity. They form a ragtag band of renegades to do battle with seemingly unassailable odds weighing against them.
The ending is a bit lame and too clean, but it can hardly be expected for the movie to have gone toward bleaker terrain. A B-movie is meant to be cheap and agreeable to the audience. Anything potentially alienating would be a hard break with accepted convention. All flaws aside, it’s a decent vessel for Audie Murphy. Idle curiosity might well lead one to Sierra if nothing else.
Some fitting subtext of the movie was the real-life, brief yet tumultuous matrimonial bond between Audie Murphy and Wanda Hendrix. Their union would be horribly short. Though married during filming, they would already find themselves separated by the time of its release.
One can only hazard a guess the relationship was exasperated by Murphy’s undiagnosed PTSD from his war experiences. Honestly, he was only on the cusp of his fledgling career, not so far removed from his premier status as America’s ultimate war hero, and the demons that come with such a pedigree.
If the eyes are the so-called window to the soul, Audie Murphy’s is burning with a maelstrom of fierce emotion, oscillating from melancholy and glints of warmth to tormenting darkness. His eyes are his greatest attribute and would remain so for all of his movie career. Action pictures like war films and westerns suited these attributes. He could probably speak more with his eyes than with any line of dialogue.