In his original Reader capsule of the film, Dave Kehr described Lewis as “one of the great low-budget stylists,” citing the abstract qualities he brought to down-and-dirty genre assignments. But no less important to Lewis’s filmmaking is a realistic preservation of time and space. He probably executed more long takes than any other B-movie director of the 40s (his early quickie Secrets of a Co-Ed culminates with a ten-minute shot), and his deep-focus photography could be as imaginative as Orson Welles’s. Lewis’s work is always worth catching in theater: his technical stunts seem almost carnivalesque in that environment. Texas Town may not be as good an introduction to his work as Gun Crazy or The Big Combo, which are a little more controlled in their storytelling. But if you’re looking for something different, it might be the oddest thing playing in Chicago this week outside of the Underground Film Festival.