If you’re a fan of the mid-to-late sixties cinema, you know it was a weird, transitional time. The Technicolor gloss of old Hollywood was peeling off. Audiences wanted something meaner. Something a bit more honest about how the West was actually "won." That brings us to Rough Night in Jericho, a 1967 film that doesn't always get the top billing of a Leone or a Peckinpah flick, but honestly? It’s a fascinating, brutal little piece of history.
It stars Dean Martin. Not the "singing in a tuxedo" Dean Martin, but a cold-blooded, sadistic version of Dino that makes you wonder why he didn't play villains more often. He’s Alex Flood, a former lawman turned corrupt town boss who basically owns the town of Jericho. He's got his hands in everything. If you don't like it, you get a boot to the face or a bullet in the ribs. It's a dark setup.
The Dean Martin Villain Experiment
Most people think of Dean Martin and they hear "That's Amore." They see the glass of scotch and the easy smile. But in Rough Night in Jericho, Martin flips the script. He’s terrifying because he’s still charming. He smiles while he’s ruining lives. This wasn't the first time he'd stepped into a Western—he was legendary in Rio Bravo—but there, he was the drunk seeking redemption. Here, he’s the reason people need redeeming.
He plays against George Peppard, who plays Dolan, a cynical former marshal. Peppard is fine, he does the "tough guy who doesn't want to get involved" bit well enough, but the movie belongs to Martin. You’ve got Jean Simmons in there too, playing Molly, the owner of a stagecoach line that Flood is trying to squeeze out. She’s the backbone of the resistance, such as it is. It’s a classic Western trope: the town is under the thumb of a tyrant, and it takes a reluctant hero to step up. But the execution here is surprisingly cynical for 1967.
Violence and the 1960s Shift
The movie was directed by Arnold Laven. He wasn't necessarily a household name like John Ford, but he knew how to stage a fight. There's a scene in Rough Night in Jericho where Peppard and a henchman (played by Slim Pickens, of all people) get into a brutal, protracted brawl. It isn't a clean, choreographed "movie" fight. It’s messy. It’s ugly. It involves whips and mud.
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This was the era where the Hays Code—the old set of moral guidelines for movies—was dying. You can feel that freedom on screen. The violence has a weight to it that earlier Westerns lacked. It’s not quite The Wild Bunch levels of blood, but it’s definitely on the way there. It captures that specific moment in film history where the Western was starting to deconstruct itself.
The plot basically follows Dolan as he tries to ignore the injustice happening right in front of him until it becomes impossible to look away. Flood is a great antagonist because he represents the law turned inward. He used to be the "good guy." He knows all the tricks. That makes him way more dangerous than some random outlaw from the hills.
Why We’re Still Talking About Rough Night in Jericho
It isn't a perfect movie. Sometimes the pacing drags, and the chemistry between Peppard and Simmons feels a little forced. But it works because of the atmosphere. Jericho feels like a trap. The town itself is dusty, claustrophobic, and hopeless.
Also, look at the supporting cast. Slim Pickens is always a win. John McIntire brings that seasoned, weary energy he was famous for. The film uses these veteran Western actors to ground the story in tradition while Dean Martin’s character systematically destroys that tradition. It’s a meta-commentary on the genre itself.
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Honestly, the "bad guy" winning for most of the runtime is what keeps you hooked. Flood isn't just a bully; he’s an entrepreneur of misery. He taxes the people, he controls the transport, and he uses his former badge as a shield. It’s a very modern take on corruption disguised as "order."
Technical Specs and Production Trivia
The film was shot in Technicolor and Techniscope, which gave it a wide, cinematic feel despite the gritty subject matter. It was produced by Martin's own production company, Claude Productions. This is a key detail because it shows Martin was actively looking to subvert his public image. He wanted to prove he had range beyond the "Rat Pack" persona.
The soundtrack by Don Costa is also worth a mention. It’s not your typical soaring Western score. It’s a bit more jagged, fitting the "rough night" promised by the title.
Critics at the time were a bit mixed. Some found the violence gratuitous. Others thought Martin was miscast. Looking back now, those critics were mostly wrong. The violence is what gives the movie its teeth, and Martin’s casting is a stroke of genius specifically because of how much we usually like him. Seeing a man with that much natural charisma be that cruel is genuinely unsettling.
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The Actionable Legacy of the Film
If you're a student of film or just a weekend Western binger, there are a few things you should look for when you sit down with Rough Night in Jericho.
- Watch the hands. Notice how Dean Martin uses his physical presence. He’s relaxed. He’s never rushing. That’s how a man who owns everything moves.
- Observe the lighting. The night scenes are genuinely dark. For 1967, the cinematography by Russell Metty (who did Spartacus and Touch of Evil) is top-tier. He uses shadows to emphasize the moral ambiguity of the characters.
- Compare the "Heroes." Contrast Peppard’s Dolan with the typical John Wayne hero. Dolan is selfish. He doesn't want to help. He only fights back when it affects him personally. This shift toward the "anti-hero" is a hallmark of late-60s cinema.
If you want to track down the film, it’s often available on physical media through Universal's vault series or occasionally pops up on TCM. It’s a must-watch if only to see the "Evil Dean Martin" performance that most casual fans don't even know exists.
Final Takeaways for Fans
The film serves as a bridge. It connects the classic era of the 1950s "oater" with the cynical, blood-soaked Revisionist Westerns of the 1970s. It’s not as famous as The Searchers or as stylistic as A Fistful of Dollars, but it has a mean streak that makes it memorable.
If you're looking for a double feature, pair this with Rio Bravo. Seeing Martin play the broken man in one and the man who breaks people in the other is a masterclass in range. It’s also a reminder that even the most "lightweight" entertainers of that era had a lot of darkness they were capable of tapping into.
Next Steps for the Interested Viewer:
- Find a High-Def Version: This movie benefits greatly from a clean transfer. The Technicolor palette in the desert scenes is stunning if you aren't watching a grainy bootleg.
- Research Arnold Laven: If you like the pacing of this, check out his other work, like The Glory Guys. He had a knack for ensemble Westerns.
- Analyze the "Town Boss" Trope: Compare Alex Flood to other famous Western villains like Liberty Valance. You'll see how Rough Night in Jericho updated the "corrupt official" archetype for a more cynical audience.
Ultimately, this isn't just a movie about a bad night in a desert town. It’s a snapshot of a genre in the middle of a nervous breakdown, trying to figure out what it looks like in a world that no longer believes in white hats and black hats. Flood wears a black hat, sure, but he wears it with a smirk that says he knows the white hats are just as dirty as he is. That's what makes it worth your time.