It's almost revisionist in its insistence that everyone in the Old West was on the make in some way, but its eye for characterisation can be surmised from one attentive tracking shot along a line of passengers hauled off a train the Jennings gang are holding up, and - as you'd maybe expect from a storyteller with some legal experience - it's sharp indeed on the technicalities of this particular case. That deadening 1950s insistence on justice being seen to be done is evident in the finale, but up until then, this remains a genuinely unpredictable little yarn: the only outcome we can be sure of is that Jennings, in whatever guise, survived long enough to get this story down on paper. A knowing, conspiratorial air emerges in the scene where the law arrives to unmask our hero as a trainrobber at a dinner party on the eve of Al's wedding, causing one Southern belle to exclaim "Trainrobbers! Oh my goodness, I don't know whether to be chilled or thrilled."
Al Jennings of Oklahoma screens on five tomorrow at (high) noon.