I seem to be getting rather good at that – treating people I know like strangers and those I dislike with kindness. Virginia City was directed by Michael Curtiz, with a script from Robert Buckner. The film features Errol Flynn, Randolph Scott, Miriam Hopkins, Humphrey Bogart, Alan Hale, and Guinn Williams. Max Steiner composed the music, and Sol Polito handled the cinematography. The story is based on actual events that occurred in December 1864 during the final stages of the American Civil War. A group supporting the Confederacy attempted to smuggle a significant amount of gold from Virginia City to Jefferson Davis, with hopes of altering the course of the war which they were nearing defeat in... It was a chaotic production; many people didn’t participate, the film began without a completed script, and poor weather combined with interpersonal conflicts made it difficult for several cast members. Adding to this, Humphrey Bogart is clearly not right for his role – and he's aware of that – resulting in a movie that, considering all the talent involved, falls far short of being a genre classic. The film begins so promisingly; we’re immediately thrown into Libby Prison—also known as The Black Hole Of The Confederacy (AKA: The Devil's Warehouse)—where the always-charming Flynn is digging through a tunnel with his comedic partners, Hale and Williams. Soon they encounter Randolph Scott, who represents everything great about Western/Southern films – it’s a perfect moment for classic film fans. Unfortunately, this initial excitement leads to a movie comprised of disconnected good moments that ultimately feels too long. Still, a fondness for classic movies can make even lighter fare enjoyable, and that holds true here. Curtiz at least keeps the pace moving with several action sequences, showcasing the incredible talent of stuntman Yakima Canutt in some instances. Some of the stunts are unbelievable, including one involving a horse that surely upset the ASPCA! The actors perform well during their scenes—with the exception of Bogart struggling through a Mexican bandit accent and Hopkins being off-key for the musical numbers—and despite its frivolous nature, the ending has a certain warmth to it. So, what’s left? It wasn't as bad as it could have been considering all the problems behind the scenes, and an appreciation for the era of filmmaking it comes from warrants some recognition (it was well-received when first released). However, twenty minutes easily could have been cut, which might have spared a frustrated cast and audience the feeling that it isn't quite top-tier entertainment. 6/10

Source on TMDB