I’ve been meaning to return to The Tin Star (1957) for a while now, an under appreciated Western by Anthony Mann without James Stewart, his first Western without Stewart due to a falling out between the two of them. I wonder how he would have approached this role, making it the 8th together. Instead turning to Henry Fonda, a longtime friend of Stewart’s making for the film we have today. Paired opposite a young pre-Pyscho Anthony Perkins which itself makes for interesting reading.
I could come at this review as a could have been different with James Stewart but that would be doing a dis-service to decent film that takes on the apprentice/master relationship. Something that has been done countless times, to become a man you must be able to defend yourself. Here however you don’t need the guns to do so. They are simply tools, something that fresh-faced Sheriff Ben Owens (Anthony Perkins) has to learn the hard way. When bounty hunter Morgan ‘Morg’ Hickman (Henry Fonda) arrives with bounty in tow he wants only to collect his money and leave, keep to himself and cause no trouble. His very presence in the town causes a stir with the establishment and business that have supported Ben who took over at little notice. “This is a law and order town” is mentioned a few times to warn Hickman off interfering on his way. This is not the Clint Eastwood bounty hunter whose very presence scares those he’s about to shout down and collect on. This town has moved on from this model of keeping law and order. It’s follow the law and live by the law. Yet we still have the classic Dead or Alive posters which contradict that thinking. criminals are still wanted, however the arrive is a different matter. Hickman’s presence spreads fast through the town, no rooms at the only hotel, no room for his horse at the livery stable (on the edge of town). They don’t want him to stay, he’s a reminder of a different time, he’s outmoded.
Instead of being filled with rage, like many of Stewart’s roles, there’s no build up of emotion, not big release that leads to great dramatic scene. Instead he holds his own in a town that resists him. Taking up lodgings with another outsider Nona Mayfield (Betsy Palmer) and her mixed race son Kip (Michel Ray) a curious boy who wants only to play with others. Not having many friends due to his Native American heritage (which isn’t really mentioned outside the house). Getting off to a rocky start, it could have increased in tension however it’s dealt with calmly the next day surprisingly well.
The main focus of the film is making a sheriff out of Owens who wants to assume the role with more confidence, something that he is lacking. This could also be seen in the actors hidden sexuality, hiding him true-self on-screen to conform and get work. Can only a heterosexual male become a sheriff? His skills with a gun are rough around the edges, it takes Hickman’s presence, a former sheriff himself to help him. It’s a reluctant help, after being pleaded by the sheriff, not the image we’re used to in our law enforcement out in the West. He’s still a boy who needs to learn the ways of being a man. It takes another to teach him. We get the classic target practice scene, not played so much for comedy, more to see how far he has to go. He wants to prove himself to the town and his woman – Millie Parker (Mary Webster) who wants him to take off the badge to live a safer life, unlike her father who died with it on.
Another test comes in the form of Bart Bogardus (Neville Brand) one of the ugliest men you could get caught up in a fight with. A man who should really be wearing the badge, instead he tests the sheriff to the limit. When a posse’s formed to catch two men responsible for the deaths of two elder men, he leads the mob mentality, which is stirred up. Owens seems powerless to really do much about him. If Ben can overcome him, stand up to the brute he has come a long way, learning how to hold himself in public and as the law. The bully of the playground has no one left to push around.
The real test comes as the posse are out chasing no-one after setting a light, Hickman has resisted the lure of the reward on the two wanted brothers Ed and Zeke McGaffey (Lee Van Cleef and Peter Baldwin), again mixed race with Native American heritage, these two face the full force of racism, whilst young Kip joins in from a distance playing sheriff on his new horse. Hickman is able to put his drive for money to one-side when he knows Kip’s caught up, becoming a father figure to him. Not forgetting his sheriff in-training Ben who just wont listen to reason, stay out of it and be safe. The life he wants is fraught with danger and heartache, which can be avoided. Instead he’s headstrong and blinkered, riding in to prove himself. Ultimately, no guns are used to safe the day and bring in the two men. Even when they face a lynch mob, guns are threatened not used, showing that can be used as tools not just weapons for protection.
Tin Star is the beginning of a decline for Mann who had made some classic Westerns with Stewart, this could have been up there. Gary Cooper makes for a strong replacement in The Man of the West (1958). However from there on in it’s down and out, if we ignore a tense The Heroes of Telemark (1965) for a brief return to form. Here however we have a small budget film that tries to get into the characters, some more successful that others. There’s a lot going on in this 80 odd minute film, it’s tight with a bit of excess around the edges. I know I’ll be revisiting in future thanks to a fine performance from Fonda which gives it some weight and experience.
Ever since the reviews came out for this film, telling me that it wasn’t funny etc I was cautious from then on in. Being a Family Guy fan I had to see this, knowing that I would get the humour that was in A Million Ways to Die in the West (2014). Sadly I was let down after seeing Ted (2012) that really scored high on comedy. Here the jokes felt too forced and unnatural. Of course the context being that shepherd Albert (Seth MacFarlane) was born out of his time, he is just too aware of the world around him. Going onto basically tear apart a genre and a time in his own countries history, he doesn’t even know that he’s doing it which is even worse. Wasn’t it brave people who went out into dangerous unexplored country, wanting to make a better life at any cost. Walking all over it for comedy value which is even worse. It’s a clever idea to comment on how dangerous living in the frontier but the joke runs sour after half an hour. Needing to keep things fresh which he does it to a point which he sticks with throughout and never lets up.
In keeping with western lore the shepherd is seen as pathetic and weak, not going for the stronger more respected cattle farming. Made even worse he gets his way out of most dangerous situations. Instead of standing up like a man of the frontier and having some courage. Something which does grow as the film progresses. He rightly looses his girlfriend Louise (Amanda Seyfried) after seeing him weasel out of a gunfight. For a man living in the west he’s just plain “Yella” even simulating a fight to avoid getting hurt.
Things don’t really move on from the comical deaths in the street which I’ve seen all in the trailer a million times until Liam Neeson‘s (Clinch) is brought in with his gang, we are back on some track to having an entertaining western when a prospector is held up. His wife Anna (Charlize Theron) is told to wait in Albert’s town for a while. The woman with a conscience, throughly modern for her time yet not to the extreme of Albert who is going on 21st century. Catching him in the nick of time to train him to handle a gun. Reminding me of the gunfighter/mentor relationship between Henry Fonda‘s Morgan ‘Morg’ Hickman and Anthony Perkins Sheriff Ben Owens in The Tin Star (1957) which took a man who wanted to be strong and gave him the confidence to handle his gun a necessary tool in enforcing the law. Here it’s embarrassing for a man in the west to be taught by a woman to be strong. Shouldn’t it be the other way around in the west?
There are some good points to be find in this film. The landscape of Monument Valley was beautifully capture at sunrise and sunset, the magic of that location is something you can’t loose in any western. The musical sequences are to be expected from MacFarlane who is always giving his best, singing or not. When we are away from the obvious dangerous of the West there are some half decent jokes, whilst others are very questionable.
It’s not Macfarlane’s best work, spreading himself too thin these days with not just the animated comedies, (you can see why The Cleveland Show is doing so badly). He is reviving The Flintstones and thats just what I can think of the top of my head. You can see he’s not really comfortable in the lead role, something that should have been given to Theron and switched the perspectives which may have improved the flow of the film. It’s also part autobiographical, after reading an interview Macfarlane mentioned his lack of success with women because he is too nice, maybe this is an attempt to say that he can improve, become less of a nice guy with a chip on his shoulder. But that doesn’t mean take on all the big roles to make a film, from, directing, producing, writing and starring in the lead role. This would have made a nice comedy series or a short one-off comedy there is something in there, if only he hadn’t spread himself so thin. I know other directors can take on all these responsibilities and still give great performances. Yet there is a point where you compromise what you are doing. In either role he would have his name on it, just choose more wisely. Hopefully Ted 2 when the lawsuits are cleared up will be a return to form?