Joan Crawford portrays "Vienna," who operates a saloon outside of town and faces disapproval from nearly everyone. Following a stagecoach robbery, an angry group arrives, accusing her of involvement despite lacking any proof. Fueled by “Emma” (Mercedes McCambridge), whose brother had died, the sheriff (Frank Ferguson) and local power “McIvers” (Ward Bond) are set on arresting her. Fortunately, she recently hired “Johnny” (Sterling Hayden) to provide music for the patrons, and his non-violent intervention briefly eases the situation. Then, the gunslinging “Dancin’ Kid” (Scott Brady) appears with his gang, causing the would-be posse to leave without her, though “Emma” vows revenge. "Vienna" and the "Kid" share a history, so when she becomes attracted to the confidence of her new guitarist, it creates discomfort—not just for the "Kid," but also for his right-hand man “Bart” (Ernest Borgnine), who seems easily upset. A fragile peace lasts until the bank is robbed, and this time, the townspeople know who committed the crime, coinciding with "Vienna’s" own withdrawal from the bank! Things are quickly connected, leading to a large fire, some exploration of old silver mines, and even a secret hiding place as the action increases, revealing that “Johnny” wasn't the peaceful person he initially appeared to be. While Barbara Stanwyck was my favorite for portraying strong women in this type of film, Joan Crawford gives her serious competition here. Her sassy demeanor, combined with an appealing personality, works effectively as she boldly asserts herself while keeping the more aggressive people in town under her control. Compared to Brady, Hayden, and the typically reliable Bond, they all seem less important as the story evolves into a personal feud between two women seeking retribution—and McCambridge delivers a convincingly tough performance too. It’s not constant gunfire throughout; instead, it's somewhat more thoughtful and seems to show the transition of the "West" from its wilder days—even “McIvers” isn’t eager to use mob violence, even when prompted by “Emma.” Crawford is clearly dressed with care, and—particularly at the end, one has to question whether her colors or outfits are suitable, but that doesn't diminish an enjoyable story well acted.

Source on TMDB