Support Your Local Gunfighter (1971)

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I’m slow – but you’re slower!   Travelling con man Latigo Smith (James Garner) drifts into a small Western gold rush town called Purgatory, he decides to take advantage of a local rivalry between gold-mining factions. Recruiting the shifty Jug May (Jack Elam) to pose as a notorious gunfighter, Smith sets his scheme in motion, while also taking time to romance the lovely Patience Barton (Suzanne Pleshette) who likes nothing better than to shoot up the town. However, after his ruse is uncovered, Smith incurs the wrath of the real hired gun (Chuck Connors) among others, leading to a big shoot-out and his inability to ride a horse is artfully exposed:  or is it? …  This unofficial ‘sequel’ to Support Your Local Sheriff features a variation on the conman/trickster persona of Garner (playing a different character) and while James Edward Grant gets the screenplay credit it had an uncredited rewrite by director Burt Kennedy who came to make a speciality of the comedy western following his early genre work in the Scott/Boetticher cycle. This isn’t quite as sharply parodic as the earlier film and it doesn’t possess its coherence rather a series of amusing vignettes including explosions and a bar-room brawl but it has great work by Elam as the oafish sidekick whom Garner identifies to the locals as sharpshooter Swifty Morgan, nice characterisation as the bawdy madam by Joan Blondell, sporting a chihuahua (and she has a visit by fellow proprietress Marie Windsor!) and lovely support by Pleshette as the blast-happy daughter of Harry Morgan who masquerades as a prostitute but is the real love interest. Garner is great, as ever!

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Run for Cover (1955)

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Do you think putting a gun in his hand will cure what is in his heart? After being mistaken for train robbers and shot and injured by a wrongheaded posse an ex-convict drifter Matt Dow (James Cagney) and his flawed young partner whom he’s just met Davey Bishop (John Derek) are made sheriff and deputy of a Western town. Bishop is deeply resentful of the people who’ve crippled him while Matt befriends and then romances the daughter Helga (Viveca Lindfors) of the recent Swedish emigrant Swenson (Jean Hersholt) who takes in the pair while Davey is getting medical treatment. Then the crime rate surges with the re-appearance of an outlaw who Matt knows from his time in prison where he did six years in a case of mistaken identity …  Winston Miller’s screenplay is from the story by Harriet Frank Jr and Irving Ravetch. It lacks the baroque weirdness of Nicholas Ray’s previous western, Johnny Guitar and the soaring emotionality of his forthcoming Rebel Without a Cause, but it is notable that in a script featuring a mentoring relationship of the father-son type that the focus is on the older  man’s experiences with Derek becoming a substitute for Cagney’s son whose death ten years earlier is not explained. Derek plays a prototype of the aspiring juvenile delinquent character that would be front and centre of Rebel but here he’s the antagonist whose bitterness is supposedly because of being crippled courtesy of the town’s lynch mob but whom Cagney finally realises is rotten no matter what the cause. Not a classic but interesting to look at for Ray’s compositions in an evolving cinematic signature and for the contrasting performances. There are some nice lines too, such as when Matt asks Swenson for his daughter’s hand in marriage:  Ever since you leave she go round like lost heifer. Derek’s role is a pointer to many of the tropes in the JD cycle to come with Cagney very far from giving him soft soap treatment:  Why don’t you stop going round feeling sorry for yourself! Other people have it far worse!

 

The Furies (1950)

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I have no stomach for the way you live. It’s the 1870s. Widower T.C. Jeffords (Walter Huston) rules his sprawling New Mexico ranch with an iron fist, a born-again Napoleon who pays with his own currency, TC’s. But his authority doesn’t extend to his strong-willed daughter, Vance (Barbara Stanwyck), who both hates and loves her father with equal ferocity. He abandoned her mother for an inter-racial affair and she died at The Furies, her bedroom a mausoleum left precisely as she left it with Vance fiercely guarding it. Tensions rise when Vance falls for bad boy saloon owner Rip Darrow (Wendell Corey), whom T.C. buys off. But the family conflict turns violent when T.C. decides to marry Flo Burnett (Judith Anderson) and evict Vance’s childhood friend Juan Herrera (Gilbert Roland) from his land… Charles Schnee adapted Niven Busch’s novel and Anthony Mann does quite an exquisite job of staging the action, with his customary mountainous settings providing an objective correlative for a literally furious woman to take revenge. The interiors are no less impressive with the Gothic trappings enhancing the Freudian subtext with both Oedipus and Electra active in the arena of gender identification. There is a mythical quality to this classic narrative and the visuals reinforce a sense of homoerotic voyeurism in a film which constantly veers toward the psychosexual. Stanwyck is magnificent in one of the key roles of her career and the first of her seven western parts in the 1950s which laid the groundwork for her Big Valley matriarch a decade later. There is a domestic scene of horrifying violence that is for the record books. Rivalry was rarely so vicious. Notable for being Walter Huston’s final film performance.  It was shot by Victor Milner with uncredited work done by Lee Garmes and Franz Waxman provides the aggressively tragic score. I write about Stanwyck’s Fifties Westerns  in Steers, Queers and Pioneers, which you can find here:  http://offscreen.com/view/stanwyck-part-1/.

 

 

 

 

 

The Gunfighter (1950)

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If he ain’t so tough, there’s been an awful lot of sudden natural deaths in his vicinity. Jimmy Ringo (Gregory Peck) is a veteran gunslinger known for being quick on the draw, but his talent inevitably leads to trouble, with others constantly out to challenge him to prove they can best a legend. But Ringo is reformed and all he wants is to be reunited with his estranged family, but he has to contend with various foes, including the ambitious young sharpshooter Hunt Bromley (Skip Homeier) who wants to make his name. Old friend Marshal Strett (Millard Mitchell) assists him in gaining respite in the saloon. As Ringo attempts to reconcile with his schoolteacher wife, Peggy (Helen Westcott) who wants nothing to do with him and doesn’t want their son to finally meet his father, he finds that he can’t easily shake his violent past…  Loosely based on a cousin of the fabled Younger Brothers, this was written by William Bowers and William Sellers with an uncredited rewrite by producer Nunnally Johnson and developed from a story by Sellers and Andre de Toth (no mean director himself). This chamber piece about violence, myth and retribution, with most of its action confined to the saloon where Ringo is safe, was originally intended for John Wayne at Columbia but he despised studio head Harry Cohn, so when Twentieth Century Fox obtained the rights it was offered to Peck, who would make this his second collaboration with director Henry King after their astonishing work on Twelve O’Clock High. One of the bones of contention for Darryl F. Zanuck and Spyros Skouras was Peck’s homegrown moustache, which they reckoned would cost at the box office (and it did!). It is also distinguished by the hallmarks of that studio’s finest productions:  meticulous, spare storytelling with an exacting narrative thread (DFZ hated the original ending and ordered it changed), careful casting (Richard Jaeckel as Eddie,  Mitchell as the Marshal) and a particularly robust and urgent score by Alfred Newman. A top-drawer work, this is one of a few westerns from 1950 which were psychological works, marking a turning point in the maturing of the genre: I’ve written about it on Offscreenhttp://offscreen.com/view/year-of-the-gun.

The Return of Frank James (1940)

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I can’t talk without thinking, not being a lawyer. When Jesse James’s murderers the Ford Brothers are set free, his brother Frank (Henry Fonda) who’s been lying low farming, vows revenge and, accompanied by his gang, sets out to track them down. To fund his manhunt, he robs an express office and is subsequently wrongly accused of the clerk’s murder, but an aspiring newspaper reporter Eleanor Stone (Gene Tierney) is determined to find out the truth… Sam Hellman wrote a sequel to the earlier Henry King film and it was directed by renowned German director Fritz Lang, his first colour film and his first western. Notable for also being Tierney’s acting debut, she was appalled at her voice and thought she sounded like an angry Mickey Mouse:  she remedied the problem by developing a lifelong smoking habit. She plays nicely opposite Fonda who returns from the earlier film and has several great scenes, including the theatre episode when he’s watching a dramatic ‘re-enactment’ portray his brother’s murder by the Fords while he runs away – the Fords play themselves – and registers his disgust, drawing their attention to him and commencing a chase with Bob Ford (John Carradine). There’s a very funny scene when he and young brother Clem (wonderfully characterised by Jackie Cooper) imprison a nosy Pinkerton detective who’s alerted Stone to their true identities. When justice is finally seen to be done after a trial, Clem steps in to help and the final scene between them is very touching. Wonderfully staged and played, this is a consummate, straightforward revenge western, well told.

 

The Virginian (1946)

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When you call me that – smile. In the 1880s Molly Wood (Barbara Britton) chooses to leave her Vermont home for an exciting life as a schoolteacher in the small Wyoming cattle town of Medicine Bow. Settling into her new home, she’s befriended by a kindhearted but stern ranch foreman known only as the Virginian (Joel McCrea) but she doesn’t like being fooled by him when he has a joke at her expense.  As he attempts to woo the standoffish schoolmarm and she in turn is entranced by his friend Steve (Sonny Tufts!) the Virginian must also deal with a set of cattle rustlers led by the villainous Trampas (Brian Donlevy). When Steve starts working with Trampas the stage is set for a terrible showdown and a conflict of loyalties … Inspired by the true events of the Johnson County War in Wyoming which would also inform Shane and Heaven’s Gate, Owen Wister’s famous play (co-written with Kirk La Shelle and based on Wister’s novel) was adapted by Howard Estabrook and the well-constructed screenplay is by husband and wife writing team Frances Goodrich and Albert Hackett. Wood is terrific as the feisty girl who will not accept McCrea’s advances and nobody wants to tell her the truth about Steve’s defection to the other side of the law. Fay Bainter has a wonderful scene telling her how things are in this frontier world where justice is administered to fit the crime. It’s really well paced with a jaunty score by Daniele Amfitheatrof and some fine production design by Hans Dreier. The final scene is intense. It was McCrea’s last western for Paramount with some of the lovely location filming done on their ranch at Agoura, but he would spend most of the Fifties as a cowboy for other studios. Directed by Stuart Gilmore.

The Ballad of Cable Hogue (1970)

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Appears to me you’ve been seventeen kinds of damned fool. Cable Hogue (Jason Robards) has been abandoned to die by fellow failed prospectors Taggart (L.Q. Jones) and Bowen (Strother Martin) in the Arizona desert. When he finds a water source he digs a ditch and determines to settle there and charge passers by for a drink at his way station. When fake priest Rev. Joshua Sloane (David Warner) – minister of a church of his own revelation – stops and introduces him to photos of some fresh female flesh and enquires about ownership Hogue races to file a land claim at nearby Dead Dog where he takes a fancy to feisty prostitute Hildy (Stella Stevens). She joins him after being run out of town. They take leave of each other when she sees he isn’t committed to her. When Taggart and Bowen return in his absence they see an opportunity for prospecting. Then he comes back and takes charge but there’s a car on the horizon … Hogue is one of Peckinpah’s most empathetic characters, a rounded individual and funny with it and is embodied wonderfully wryly by Robards who has rarely been better. Stevens is equally at home with the material and their scenes together are remarkably tender (not for nothing did she get the Reel Cowboys’ Silver Spur award for her contribution to the western). This is a highly unconventional exercise in genre with marvellous characters adorning a story that is – as the title suggests – a kind of elegy to frontier life, with songs (by Richard Gillis) playing a large role in the narrative whose tragicomic end can be inferred. The end of the Old West is symbolised by the arrival of the motor car (or ‘horseless carriages’ as they call them here) when all at once Hogue’s little oasis is out of date. Too subtle to be a comedy western, too sweet to be lumped in with Peckinpah’s more violent fare (particularly his previous film, The Wild Bunch), this is quite a mellow and reflective essay on what a man needs to confront in his life:  change, loss and obsolescence. Written by John Crawford and Edmund Penney and beautifully shot by Lucien Ballard with split screens and speeded up scenes to remind us when it originated.

 

Union Pacific (1939)

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First time I’ve discarded aces for a queen! President Lincoln signed off on the 1862 Pacific Railroad Act to authorise pushing the Union Pacific Railroad west across the wilderness toward California. However now that Lincoln is dead financial opportunist Asa Barrows (Henry Kolker) hopes to profit from obstructing it. Chief troubleshooter Jeff Butler (Joel McCrea) has his hands full fighting Barrows’ agent the gambler Sid Campeau (the wonderfully devilish Brian Donlevy). Campeau’s partner veteran Dick Allen (Robert Preston) is Jeff’s war buddy and rival suitor for Irish rail engineer’s daughter Molly Monahan (Barbara Stanwyck). Who will survive the effort to push the railroad through at any cost? And who will win Molly? Cecil B. DeMille’s rousing, sprawling western was in the vanguard of historical tales bringing together the rival attempts at forming a national history – and this all culminates at Promontory Point Utah when Leland Stanford drove a ceremonial spike to unite this with the Central Pacific Railroad in 1869. Filled with great starry performances this is history on a human scale. Despite Stanwyck’s typical luminosity and McCrea’s decency and likeability,  it’s probably Preston who comes off best, even photographically, in his showy role. Filled with fighting, shooting, murder, building and dismantling, Indian attacks, drinking, gambling, love and death, with one killing from the window of a train that is shocking to this day, this is truly a film for the ages. A splendid, zesty example of the power of classical Hollywood. Written by Walter DeLeon, Jack Cunningham and C. Gardner Sullivan, adapting Ernest Haycox’ novel Troubleshooter. This is the first ever winner of the Palme d’Or at Cannes – awarded in 2002 due to the debut Festival’s cancellation following the outbreak of WW2!

The Spoilers (1942)

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A woman doesn’t run out on the man she loves, she sticks with him through thick and thin. It’s 1900 and Flapjack (Russell Simpson) and Banty (George Cleveland) arrive in Nome, Alaska to check up on their claim to a gold mine. Saloon owner Charry Malotte (Marlene Dietrich) knows that Bennett (Forrest Taylor) and Clark (Ray Bennett) are plotting to steal their claim. The new gold commissioner Alexander McNamara (Randolph Scott) is part of the corrupt scheme as is the territory’s judge Horace Stillman (Samuel S. Hinds) whose niece Helen (Margaret Lindsay) has a thing for Cherry’s old flame Roy Glennister (John Wayne), fresh from a trip to Europe. Roy makes the mistake of siding with McNamara which damages his relationship with longtime partner Al Dextry (Harry Carey).  Roy realizes he’s been deceived as McNamara and Stillman prepare to steal at least $250,000 while the mine’s case awaits appeal. Helen is now in love with Roy, who begs Dextry’s forgiveness and persuades him to rob a bank to take back the wealth stolen from them. Both Glennister and Dextry don black faces to disguise themselves during the heist. The Bronco Kid (Richard Barthelmess) kills the sheriff but Roy gets the blame. He is arrested and a plot forms to kill him – permitting him to escape then murdering him on the street – but Cherry comes to his rescue, breaking Roy out of jail. A spectacular train derailment occurs during his fight for freedom. Then a fierce fistfight with McNamara results in Roy getting back his mine and his girl. A great starry cast play brilliantly off one another in this spirited adaptation of the novel by Rex Beach, adapted by Lawrence Hazard and Tom Reed. The tone is set from the start with a shootout in this muddy town and Dietrich beats a path to the dock to greet old love Wayne. She doesn’t sing but wears several sparkly numbers in this monochrome delight. Her byplay with romantic rival Lindsay is a wonderful contrast in performing styles and her scenes with Wayne positively crackle The frequent references to Robert Service’s works are done with a nod and a wink to his own appearance as The Poet. Directed by Ray Enright who brings everything to a rousing conclusion with one of the longest fistfights ever filmed – and it’s all over the saloon! Wonderful fun.

The Ox-Bow Incident (1943)

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It’s man taking on himself the vengeance of the law. Drifters Gil (Henry Fonda) and Art (Henry Morgan) wander into a small Nevada town and enjoy a drink at the bar when news reaches people that local rancher Kinkaid has had 600 head of cattle rustled and he’s been murdered. The sheriff has gone to investigate. In the meantime the locals take the law into their own hands and Gil and Art tag along with the lynch mob. They find three men (Dana Andrews, Anthony Quinn and elderly Francis Ford) eating in Ox-Bow Canyon and without evidence, trial or jury, decide to hang them as thieves and murderers despite the eldest man protesting he bought their cattle from Kinkaid without receiving a bill of sale. Only seven men refuse to support their actions. Then the sheriff arrives and tells them he’s found the murderer… This taut adaptation of Walter Van Tilburg Clark’s 1940 western novel was adapted and produced by Lamar Trotti for Twentieth-Century Fox and its economy of form (a studio set) immeasurably aids the aesthetic choices by director William Wellman in a sparse and breathtaking seventy-three minutes. Within that straitened narrative are teased the limits of a father-son relationship (the self-righteous Major Tetley whose son doesn’t agree with his actions), a romantic relationship between Gil and Rose (Mary Beth Hughes), who turns up on the stage with the man she just married en route to San Francisco, and the allegorical debate about law and justice at the heart of everything. Fonda’s future role in Twelve Angry Men is also prophesied while his part in The Grapes of Wrath is recalled by having Jane Darwell join the baying murderers. A classic of liberalism, a jewel in Hollywood’s crown and a warning about the sadistic lure of mob rule.