The 17 Jul 1956 DV reported the acquisition of screen rights for Al Dewlin’s 1956 novel, The Night of the Tiger, by Universal-International Pictures. A news item in the 22 Oct 1956 issue noted that Gerry L. Coon was assigned to write the script.
       The property remained in limbo for nearly seven years, until the 18 Jun 1963 DV announced its acquisition by writer-producer Andrew J. Fenady. Three days later, the 21 Jun 1963 LAT stated that Fenady was sending a crew to Acadia National Park, near Bar Harbor, ME, to photograph such landmarks as Thunder Hole and Anemone Cave, along with several coastal islands. The footage was intended to provide background images for the screen credits and theme music. Nick Adams was given the male lead, according to the 2 Jul 1963 DV. The 25 Jul 1963 issue noted that Fenady was negotiating a major role with actress June Clayworth. At the time, he and director Bernard McEveety were also scouting locations in Hurricane, UT, as stated in the 24 Jul 1963 LAT. However, on 6 Aug 1963, DV reported that Fenady had committed his organization to a production deal with Twentieth Century-Fox Television, which necessitated postponing the film for at least another year.
       Twelve months later, the 24 Aug 1964 DV stated that producer Sid Rogell, husband of June Clayworth, was attempting to acquire rights to the source novel. Pre-production resumed soon after, evidenced by the 21 Sep 1964 DV, which reported Fenady’s departure for Yuma, AZ, to scout locations. The 7 May 1965 LAT noted that actor Chuck Connors secured the lead role through distributor Columbia Pictures. In addition, television producers Mark Goodson and Bill Todman chose the project as their first theatrical venture. The 24 May 1965 LAT identified Harris Katleman as their representative on the set.
       Principal photography began 25 May 1965 on location near Lancaster, CA, according to that day’s DV. The 1 Jun 1965 edition stated that interior filming took place at Paramount Sunset Studios in Los Angeles, CA. Connors reportedly controlled twenty-five percent of the $750,000 production.
       The cast also featured television star Bill Bixby, who revealed in the 11 Jul 1965 LAT that Chuck Connors, golfing partner, had endorsed him for the role of the sadistic “Johnsy Boy Hood.” Bixby, known at the time as likable reporter “Tim O’Hara” on My Favorite Martian (CBS, 29 Sep 1963—1 May 1966), hoped that the characterization would improve his career prospects, although it might also jeopardize his public image.
       Other cast members included Ed McCready, Bill Harlow, and Philip Mansour (4 Jun 1965 DV); May Boss (15 Jun 1965 DV); Pat Costello, brother of late comedian Lou Costello (21 Jun 1965 LAT); and child actor Marvin Norling (1 Jul 1965 DV). The 18 May 1965 DV noted that actor Leslie Nielsen was being considered for a supporting role.
       A full-page advertisement in the 16 Jul 1965 DV, promoting co-star James MacArthur, announced the recent completion of principal photography. On 3 Nov 1965, DV reported the official title as Ride Beyond Vengeance. A news brief in the 9 Mar 1966 DV stated that veteran filmmaker William Wyler was impressed with the picture, considering its modest budget and brief production schedule.
       Ride Beyond Vengeance premiered 21 Apr 1966 in Dallas, TX. The next day’s DV reported that Connors, who attended the event, was awarded a silver plaque by the Interstate Theatre Circuit, declaring him “King of the Movie Cowboys.” Openings followed on 27 Apr 1966 in Los Angeles, and on 28 Sep 1966 in New York City. While critical notices were fairly positive, a scathing review in the 21 Apr 1966 DV prompted Columbia Pictures to run advertisements in the 25 Apr and 29 Apr 1966 issues of DV, featuring complimentary statements about the picture from various publications. An article in the 7 Jun 1967 DV noted that the film had an intentionally brief theatrical run before being sold for broadcast to ABC Television.
       Years later, the 19 Dec 1973 DV reported that Connors had presented Russian premier Leonid Brezhnev with prints of Ride Beyond Vengeance and Geronimo (1962, see entry) while visiting the Union of Soviet Socialist Republics (USSR). Connors was considering a U.S.-USSR coproduction at the time, while the rival super-powers were making efforts to normalize relations.