The final shootout is justly famous, but to me it starts with Shane's determination to go in and meet Ryker and Wilson, even if he has to fight his good friend, Joe Starrett. The effect on the horses and cows of the fight is a fantastic choice by George Stevens as is the camera staying inside the house at first with Mary and Joey looking from window to window to catch a look at the brawl.
Then Mary (Marian?) and Shane have their last scene and you feel how they love each other but cannot alter their fate. Jean Arthur's long pause between saying "Shane...take good care of yourself," is terrific. She wants to say she loves him, but cannot. She wants to hold him, but instead shakes hands. And the ride into town with the swelling music, Joey running after Shane (the dog following Joey was a masterstroke) and the musical climax as Ladd comes down the three trees pass, all of this is a fabulous setup for the unforgettable confrontation.
One interesting note: If you time Shane's demonstration shooting for Joey and Wilson's of Torrey, Wilson was one or two frames faster on the draw. Which may suggest that after Wilson tells Shane, "Prove it!" and we have a look at Shane, then back to Wilson, who draws, then see Shane getting a shot off first, maybe Shane drew first. Though he's the good guy and in movie logic should let Wilson draw first, why should Shane let this killer have an advantage? Especially knowing Ryker would be shooting at him too. Anyway, in drawing and shooting for Joey's education, there's not the extra adrenaline involved of saving one's life.
One very special feature of this film is the friendship of Shane and Joey. I can't think of another Western where the relationship between a stranger and a boy is so heartfelt and genuine. I know John Ford's "The Searchers" is often cited as the best Western ever, but "Shane" is my personal favorite for reasons given and many more.
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