During the part where Cooper kicks a fire onto Spangler, burning his jacket, and Cooper then makes his getaway, the two white smoking burn spots on Spangler's jacket change position, size, shape, and color several times from shot to shot.
After Spangler's jacket is burned in two spots at the fire, the burn spots disappear.
When Spangler ducks inside the doorway to shoot upstairs at a hiding Cooper, a bullet hits the door frame beside Spangler's head before Cooper even jumps out to shoot back down the stairs at Spangler.
When Clint arrives in town he goes into the sheriff's office.
From outside, the open door cannot be seen, it is completely in the shadows.
However, when there is a close up of Clint entering the office, the door is lit and can be clearly seen.
During the fight between Clint and the Morrisons there are clearly stunt doubles in part of the fights for Clint and Tom Morrison.
Clint's double has a higher hairline and Morrison's hair is a different color blonde.
The stunt men don't try to hide their faces either.
Helen is in the saloon, a hostage of the outlaws.
In the mid-range shot she has bangs over the left side of her forehead only.
When the shot moves to a close up, the bangs cover her entire forehead.
When Helen throws her drink on Spangler, there is an outlaw with a blue-green jacket on at the end of the bar with both forearms on the bar.
Another man is approximately 3 feet from him lying on his side on the bar.
The shot changes to focus on the men in the background.
The man in the blue-green jacket has now turned around with his right elbow on the bar.
There is a third man behind the bar behind the feet of the prone man, previously unseen.
When Clint goes to leave the schoolhouse, the blind on the door is all the way down.
When he comes out, it is open by about 6 inches.
Clint has the left sleeve of his shirt torn and his arm ripped open with a baling hook, leaving blood all over him.
However, after the fight, when he is sitting in jail, his shirt is ripped, but there is no blood on it and no evidence of a wound.
When Audie Murphy visits Merry Anders in the schoolroom, many of the paintings on the wall behind her are clearly done by 1960s children - a modern house, lamp etc.
This is an enjoyable Audie Murphy western.Simple story with some nice drama but the highlights of the film all belong to the 'Spangler' character.
Dating from 1964, the latter Audie Murphy western is a routine B filler littered with continuity errors (most notably, the church building in which all the windows are dark from the outside but inside the lights are on full pelt), stunt doubles and poor tactics (when attacking the town the villains don't decide to use dynamite to destroy the barricade until about half of them have been killed in a pointless full-frontal attack). It does have a high body count and Ted De Corsia overacts enjoyably in a role he previously played only 4 years before in Noose for a Gunman.
Having read previous reviews, I nearly didn't bother to watch TQG, but was glad that I did. By the standards of the 1960s and Audie Murphy Westerns, it wasn't at all bad.
This movie should be a mandatory viewing for all students in the various theatrical curriculum in Universities. The directing is very, very poor (to say the least) having Murphy, Anders, and others perform in a stilted, confined manner.
'The Quick Gun' never exerts itself, but it's still a western that (only just) held my interest from start-to-finish.The premise is watchable enough, which is fortunate as the acting, dialogue and fight scenes aren't great.
Love everything Audie Murphy does even with the character name changes from 1955 Top Gun but the plot was spot on and the over acting in this film was entertaining.
I'd guess it was a remake 4 years later by the same writer but definitely worth checking out! Actually saw this one first.
An enjoyable western starring Audie Murphy, one of my favourite actors. It's well-paced, suspenseful with some excitement gunplay.
Inspiration was running low when Steve Fisher's original story was recycled yet again in what is basically a TV episode glossily opened out for the big screen in Techniscope with meaner brawls (marred by the obvious use of doubles), a noisy score by Richard LaSalle, and Audie Murphy as usual impossibly pretty and clean-cut despite his supposedly shady past (with Merrie Anders gorgeous but largely peripheral as the local schoolmarm).Among a generally rather elderly supporting cast (including silent veteran Raymond Hatton), Ted de Corsia, Mort Mills and Rex Holman make memorably mean heavies (with Mills' eventual fate quite pleasing).
