Plot Synopsis from allmovie.com by Sandra Brennan
The famous outlaw rides again in this fictionalized western that chronicles Billy's turn from criminal to fine upstanding citizen. The film received an Oscar nomination for its color cinematography.
NY Times Review
Billy the Kid (1941)
June 20, 1941
By BOSLEY CROWTHERT.S.
Published: June 20, 1941
The magnificence of Robert Taylor, which is always something special to behold, falls into pale inconsequence alongside the glories of the great outdoors in Metro's flashy Technicolored Western, "Billy the Kid," which hit the Capitol yesterday. Apparently, this is not exactly as it was intended to be, for a great deal more is seen of Mr. Taylor than of anything else in this film—Mr. Taylor in a forbiddingly black and shiny cowboy suit; Mr. Taylor at medium distance flashing a roguish smile; Mr. Taylor's face in intimate closeup with his power-blue jaw set firm and his steely eyes looking about sharply for any movements at all untoward. But somehow a lot of Mr. Taylor is scarcely able to compare with even a moderate amount of stunning outdoor scenery—with the coral and copper-colored monoliths of Monument Valley, their tops wreathed in billowing mists; with deserts stretching off into pink distance and red cattle grazing on the rolling plains. And the scenery is by far the most spectacular part of this bulging film.
For, in spite of its elaborate coloring and its highly reputed star, "Billy the Kid" is just another routine horse opera—another glorified fable about one of the West's more notorious outlaws—and not a very good one at that. As usual, the story here has it that the Kid pursued a roving career because of a grave injustice done to him in his youth. (That's the stock cinematic excuse for bad boys.) But even after he has gone through the familiar regenerative phase he is so dependent on the six-gun that he uses it to avenge the death of a friend. And that, of course, means curtains for gallant but misguided Bill.
With little thought for expense, Metro has packed the picture with plenty of exciting stuff. There is a dandy stampede of cattle as part of a ranchers' war; swarms of desperate horsemen go racing this way and that across the plains, and enough ammunition is exploded to keep you wincing straight through. A capable cast of heavy-actors, including Brian Donlevy, Gene Lockhart, Ian Hunter, Henry O'Neill and Grant Withers, has been directed to perform in the familiar swaggering Western style. But it doesn't move fast enough to do any real damage to your nerves, and Mr. Taylor's Billy is stuffed with too much straw. Vaguely, he gives the impression of a kid in a new cowboy suit.
imdb User Review
Robert Taylor in his first western, plays the role of the outlaw with icy assurance., 22 February 2005
10/10
Author: mamalv from United States
Billy the Kid is the first of many westerns that Robert Taylor starred in, and boy did he find his nitch in the entertainment field. The film was loosely based on the book The Saga of Billy the Kid, by Walter Noble Burns. Although the real Kid was ruthless and a cold blooded killer, it is known that he did find some peace with a rancher who took him in and tried to help reform him. He rides into town to save Pedro, his friend, from jail and falls into the company of Dan Hickey played by Gene Lockhart in a rather ominous role of a crook. Billy goes to work for Hickey, and starts trouble for rancher Sherwood, played by Ian Hunter. Hunter is great as the laid back rancher who takes Billy in and persuades him to stop running. Brian Donlevy is Billy's boyhood friend who is the foreman of the ranch and later the marshal. Mary Howard is Hunter's sister and Donlevy's fiancée, but is strangely attracted to Billy. They never have a romance, but it is refreshing to see Billy's innocence with her. When Hunter is killed by the Hickey people, Billy goes on the rampage and kills all including shooting Hickey in the back. The most outstanding scene is the last when Billy is waiting for Donlevey, his blue eyes the only thing you see in the darkened shed. Of course he dies at the hands of his best friend. I think this role established that Taylor could play good and evil equally well, as he went on to do his best film Johnny Eager a couple of years later. The wonderful color photography is only dimmed by the magnificent looks of a young Robert Taylor, his blue eyes as icy as the role he played. This is a don't miss for all fans of great westerns. A note of interest is that Taylor practiced for months to fast draw with his left hand. In every western he made he would switch from left hand to right hand draw.
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