Very very predictable, including the post credit scene !!!

Very best movie i ever watch

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

This is strictly Hollywood. If one reads even the most fundamental biographies of the Earps and their associates, we come to realize that their feud with the Clantons is overblown by writers who wished to satisfy an audience. The Earps and Doc Holliday were far from perfect enforcer's of the law. Wyatt was as much a politician as he was a lawman, having on many occasions to try to appease a population that didn't especially like him. Doc Holliday was a user and abuser and a very sick man. The Earp brother had their own problems. One of the foibles, especially of Wyatt, was being bad judges of women. This film makes them saviors and, in the Western tradition, black and white. The shootout is a lot of fun as is the suspense leading up to it. It's certainly not a biopic, but it's a really fun Western.

It's been a while since I enjoyed a western movie that much. Burt Lancester really shines in his role as Wyatt Earp. He has a strange friendship with Doc Holliday (Kirk Douglas). They argue and nag about each other half of the time. Doc's relationship with a woman (apparently some kind of prostitute) is even weirder. She either loves him or tries to kill him. She betrays him and wants to be with him. Very confusing. That and the main song of the movie, that they repeated a tad to often where the reasons I gave it "only" 9 stars.In comparison with other movies I especially liked the fact that as a setting they set up a whole settlement. Not only 2-3 buildings in the middle of nowhere that other movies dare to call a "town".I don't know much about the real events behind the movie, but the story is good. It has true friendship, action and love while it lacks unneeded "jokes", silly lines and slapstick. It felt more genuine and serious to me, which is a solid plus.By the way, you also get to see DeForest Kelley as Wyatt Earp's brother in a few scenes towards the end of the movie. I only knew him in his role as Doc McCoy from Star Trek TOS. "Dammit Wyatt. I'm an Earp, not a magician!"

There are at least five films I am aware of based upon the notorious Gunfight at the OK Corral; the others are "My Darling Clementine", "Hour of the Gun", "Wyatt Earp" and "Tombstone". This film and "Hour of the Gun" from ten years later were both directed by John Sturges. The later film can be seen as a sort of sequel to this one, although it does not star the same actors. "Gunfight at the OK Corral" starts with the earlier history of Wyatt Earp, his brothers and Doc Holliday, and then moves on to events in Tombstone, with the Gunfight as the climax of the film. "Hour of the Gun" starts off with the Gunfight and then moves on to the subsequent feud between the Earps and the surviving members of the Clanton gang."Gunfight at the OK Corral" takes a number of liberties with history, although not as many as the notoriously inaccurate "My Darling Clementine". Some of these seem to be derived from the earlier film. As in "My Darling Clementine" the Earps are intent on revenge for the death of their younger brother James, murdered by the Clantons. In reality James was the eldest of the Earp brothers and was not murdered; he lived to die of natural causes at the age of 85. As in the earlier movie, the Gunfight is shown as taking place at dawn rather than in the afternoon. Johnny Ringo is shown here taking part in the Gunfight, in reality he was not present, although he was an associate of the Clantons. A fictitious character is introduced in the form of Laura Denbow, a lady gambler who serves as Wyatt's love interest. All the Earp brothers had bushy moustaches, but here they are portrayed as clean-shaven. (Male stars of the forties and fifties were often reluctant to wear facial hair, even when it would have been historically appropriate. The commercial failure of "The Gunfighter", a biopic of Johnny Ringo from 1950, was sometimes blamed upon the moustache worn by Gregory Peck).Historical accuracy, however, is not always a reliable guide to the quality of a film; there are plenty of excellent movies which bear little relationship to the historical events they purportedly depict. Often departures from historical fact can be justified on good dramatic grounds. The actual Gunfight itself, for example, probably lasted for less than a minute and was fought at close range. Any attempt at an accurate depiction of this even would doubtless have resulted in the film ending in a disappointing anti-climax; the full-scale shootout lasting several minutes shown here is far more dramatically satisfying.And this is a large-scale dramatic film that needs a large-scale dramatic ending. Apart from Kevin Costner's "Wyatt Earp" this is the most epic treatment of this particular story, certainly far more so than "Clementine". It is a Western of the wide-open spaces; the tone is set by that opening scene in which a wagon drives across the prairies to the accompaniment of that muscular but at the same time mournful theme song, the work of that greatest of all Western film composers, Dimitri Tiomkin. (Remarkably, Tiomkin was not a Westerner or even American by birth; he was originally from Kremenchug in the Ukraine). There is plenty of attractive photography of the Western landscapes and, unlike "Clementine" where John Ford relocated Tombstone from Arizona to Utah in order to pander to his love of shooting in Monument Valley, this is generally appropriate to the location- prairies around Dodge City, desert around Tombstone.There are two impressive, and contrasting, performances from Burt Lancaster and Kirk Douglas, close friends who appeared together in several movies. Lancaster portrays Wyatt Earp as a courageous and incorruptible lawman whose one weakness seems to be his friendship with Doc Holliday, a man who has earned a reputation as a gambler and gunslinger. This leads to a disagreement between Wyatt and his brothers, especially Morgan, who distrust Holliday, but this distrust is eventually overcome and Doc joins the Earps in the final shootout with the Clantons. Douglas's interpretation of his role, however, does bring out his character's moral ambiguity, far more than Victor Mature did in "My Darling Clementine"; his Holliday is certainly a potentially dangerous character, but also one who is capable of restraint, as when he resists Ringo's attempts to provoke him to a fight. In my view Lancaster is the best cinema Wyatt and Douglas the best Doc with the possible exception of Val Kilmer in "Tombstone". There is another good contribution from Jo Van Fleet as Doc's mistress Kate Fisher.Overall, I would regard this as the best movie version of the story. The film is well paced and the action sequences well handled, with the final firefight coming as a stunning climax. John Sturges might not today attract quite the same adulation as Ford; at his worst he could churn out some dreadful stuff, such as that misfiring "comic" Western "The Hallelujah Trail", which also starred Lancaster, but at his best he was capable of some sublime work. "The Great Escape" is one of the greatest war films ever made, and "Bad Day at Black Rock" one of the greatest modern-day Westerns. "Gunfight at the OK Corral" is not quite in the same class as those two masterpieces, but it is not far behind. 8/10

Don't go looking for subtlety in GUNFIGHT AT THE OK CORRAL; it is basically a vehicle for Burt Lancaster and Kirk Douglas to show off their acting skills. Lancaster's Wyatt Earp is both morally upright and restrained, contrasted with Douglas' amoral Doc Holliday. Eventually the two of them form an unlikely partnership, as they protect their communities against invasion from unwanted enemies. John Sturges' production contains many classic scenes from Westerns - long pans of a lonely landscape, bad guys riding into town amid a cloud of dust, and the hero riding off into the sunset at the end. The theme tune - from Frankie Laine - sums up the story. Produced during the height of the Cold War, GUNFIGHT AT THE OK CORRAL can be read an an allegory of US-Soviet relations at that time. But even if viewers don't want to look at the film like that, it's still tremendous fun - episodic in structure, yet filmed with a style and panache that still entertains.