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After visiting the San Diego Zoo with my sweetie-wife and a very quick lunch of a turkey sandwich to stay within my diet, I hurried to downtown San Diego and the Digital Gym theater for San Diego Film Geeks monthly western for 2026, Blood on the Moon.
The western genre is not one that generally calls out to me. Growing up in the 60s the TV was filled with western programming, both original series and films released for broadcast and I guess that the overexposure and my own natural inclination towards more fantastic stories made that part of cinema unappealing to me. There are a few scattered westerns in my library of film, but the genre is decidedly underrepresented there. That said when I saw that this month’s selection is considered a noir and that it was directed by Robert Wise very early in his illustrious career, well that made it just too damned intriguing for me to miss on the big screen. The screening was well attended, and a film historian gave a nice 10 minutes or so talk before the film.
Blood on the Moon, adapted from the novel Gunman’s Chance by Luke Short, stars Robert Mitchum as Jim Garry, a cowboy down on his luck, his herd of cattle having died of disease, answering a call for employment by an old friend Tate Riling (Robert Preston). When Garry arrives he discovers that Tate has brought him into a range war between small farm ranchers organized by Tate against John Lufton, whose large herd usually sells to the Indian Services for the local reservation, but now must be driven from the native territory or be seized by the government leaving the only grazing land for Lufton that claimed by the small ranchers. Things become morally complicated for Garry when he learns that conflict has been engineered from the start by Tate and a corrupt official as a way to force Lufton to sell his herd to Tate at fire-sale prices, ruining Lufton and enriching Tate and the official.
Photographed by Nicholas Musuraca who also shot the fabulous Out of the Past — which also starred Mitchum — this western has the dark moody atmosphere of a film noir, making use of deep shadows to present a frame where far from everything is visible to either the characters or the audience. With morally grey characters, betrayals, and corruption this more than qualifies as a noir in my book and presented in a realistic and gritty manner, the film avoids the grand mythological themes that so often bedevils the western. When the characters fight, they tire and become injured, showing them as ‘real’ people and not idealized versions of American Knights dispensing justice in a lawless land.
I thoroughly enjoyed this movie and it was well worth an afternoon downtown.





