Completing their first film inseparably with their last, Boetticher and Kennedy close the circle. Throughout the series, the themes are refined and strengthened, colliding with their opposites. Beyond such dialectic chemistry, serenity appears once again, calmer than ever, and more exasperated and desperate. However, the desperation is so total, so perfect, that it finds its own form of consolation inside itself. As he perfects the catharsis which skims any excess off the emotions, the director delves deeply into his knowledge of the land and the men that populate it. He develops a sensitivity for places which is the mark, Indian of course, of great authors of westerns. Ride Lonesome, along with Comanche Station, are built on a land, around a privileged place. […] In the latter film, the place is Comanche Station, a stop on the way to the classic diligence of Lordsburg. It is the place where encounters happen, relationships are established, and misunderstandings are clarified. In 1960 Boetticher appeared at the height of his style. From the gorgeous opening scene in which the camera focuses easily upon a cowboy in a maze of rocks and crags, to the succession of looks with which the protagonists identify and recognize one another during a shootout, his style and ideas take on the same, seemingly linear simplicity, which is in truth more complex than ever.

Louis Seguin, «Positif», n.110, November 1969