Now this is a rarity, a review of a superhero film. Previously I’ve seen a few superhero films, I could give a list – mainly X-Men, as I grew up with the cartoon as a child. Only a few months ago I caught Deadpool (2016), yes I’m a bit slower when it comes to the costumed characters. When I heard this film in the same breath of the Western I was more interested in seeing Logan (2017) billed as being Hugh Jackman‘s final outing as the angry clawed loner. Also to be the first and possibly worthy film for the character – which I can’t really comment on.
I can however draw on my understanding of the Western in relation to Logan, which will take up the majority of my time here. So let’s get under, saddle up and ride on out. Or in Logan/James Hewlett (Jackman) is a limo driver in the year 2029, living in Mexico. He is clearly tired and ravaged by time, the years haven’t been good to him. The once virile mutant filled with rage really doesn’t want to get into fight, he’s become reluctant to draw out the adamantium that have become more of a curse than before. The feeling of immortality has long faded, age and time is catching up with him. Much like in The Gunfighter (1950) – Johnny Ringo (Gregory Peck) who wants to lay down his gun, tired of killing and running, wanting a normal life. His celebrity has long-lost it’s appeal, now a target for young wannabe’s hungry for that trophy and title “I shot Johnny Ringo”. Wolverine/Logan is our gunfighter who has gone into hiding, nursing Charles Xavier (Patrick Stewart) whose suffering with dementia, needing medication to keep him lucid. Any drop in dosage can unleashed his now uncontrolled mental abilities can be felt on an almost planetary scale – it’s just not worth thinking about.
So if Logan is the gunfighter, Xavier is the elderly parent who once took him under his wing, brought him up to be the man he hoped to be like. It would be wrong to compare Xavier to a Walter Brennan character who acted as the older sidekick whose life experience’s are shared with our hero. We also have a mutant tracker, an albino Caliban (Stephen Merchant) is the unwitting sidekick who keeps both in check. We have the first of our principal characters in place now.
The film begins as it means go on, setting the tone, its hard language and bloody violence, not through Logan wanting to deliver it. Coming from a place of self-defense of self-preservation, showing that there is a place for violence in the comic book universe beyond imaginary buildings and cities being blown up in a computer. The violence leaves little to the imagination, even quick editing we are still left feel slightly queasy at the body parts being cut into and off into multiple victims throughout the film. It’s also the first time that I’ve heard Stewart swearing and as coarsely. I’m reminded of Unforgiven (1992) that sees violence rise from the embers of once prolific gunfighter William Munny (Clint Eastwood,) who picks his gun up hopefully for the last time, a big pay off that will support his family. Turning back to an old undisturbed part of his life, thought to be tamed by his dead wife. What we see is a resurgence in those aggressive emotions, the death of his friend Ned Logan (Morgan Freeman) a line has been crossed, up to this point he’s been rusty with his rifle, not able to mount a horse without assistance, a shadow of his former self. Logan is Munny just with a adamantium skeleton – no need for the rifle here.
The films director (James Mangold) has been pretty blatant in his sources of inspiration – namely Shane (1953), the titular gunfighter played by Alan Ladd who enters into civilisation if only briefly to free a town from the strangle hold of Ryker (Emile Meyer) threatening the homesteaders who were trying to make a life for themselves. Then there’s the annoying kid Joey Starrett (Brandon De Wilde) who looked up and adored the man with a gun, who could handle it with such finesse and skill it put his own father Joe Starrett (Van Heflin) to shame, he was not the man who he wanted to look up to. That was something he had to learn and accept. The acts of violence that Shane commits are held back to the end of the film, allowing us to see this strong stoic figure who only shoots when he really needs to. This skill is more than just that, it’s a form of defense that stops him functioning in society. He ultimately has to ride on away from the homesteaders who have chosen a peaceful life. The link’s seen in a few scenes Logan, we see it literally on TV, supposed to be nearly 100 years old (76 years, but whose counting). Showing that it still hows the power to hold the attention of an audience. The scenes carefully chosen to include Shane.
Our Shane is clearly Logan whose followed by his own kid (spoiler!!) a young Mexican girl – Laura (Dafne Keen) herself on the run from an army of men and mutant who want to capture her. Her own existence is very similar to Logan’s, through no fault of her own plagued by this mutation that has been engineered, thanks to mad scientist – Dr. Rice (Richard E. Grant), a connection to the X-Men cannon. One of a new generation who are on the run, the gunfighter of the Marvel universe start even younger. No need for guns, they were born with their own gifts (if you can call them that.
Away from the Western connections and themes we have that of family, having only Xavier and Caliban as Logan’s family, its dysfunctional, a father figure who has become the receiver of care. Family isn’t something that comes naturally to him, the violence in him does not allow it to really happen. All he’s ever had has either left him or been killed. With the unwanted arrival of Laura his world starts to change, his perspective on life, he softens up towards the end if only reluctantly. She also acts as a way of the character carrying on in future films and the wider Marvel comic universe which I know little about. Here she’s just a child, but one with more than her share of issues to conquer in order to function. The baton’s passed here as characters die, passing them onto new ones.
I’ll end where I began, I’ll probably never again review another comic book film, this however spoke to me, my passions, the ideas in the western are very strong. You could say the comic book super hero is just another gunfighter, their adventures chronicled in the pulp that made them. The dime novels of the 1800’s did the same for Buffalo Bill and Jesse James and numerous others, the legends were being printed, the truth being blurred with each publication, which is referenced also in the film with a subtle self-awareness that doesn’t take you out of the film. You could say it’s a Western, just with an angry guy you don’t want to cross.
Now you can’t categorise Duel in the Sun (1946) as a straight forward western, either as a historical epic, a outlaw or the good bad-guy (yes I’m reading more about the genre at the moment). I would say that it falls into the epic but sliding into romance, ultimately its one of those obscure overlooked Westerns that came out after WWII. Most notable for being David O. Selznick‘s attempt to recreate the success of Gone With the Wind (1939) which undeniably the runaway success, it wasn’t really topped at the box-office until Jaws (1975) (adjusted for inflation). It’s that second product syndrome, when you release a product that is so successful, you and the public wonder what you will bring out next. Will it be better and bigger than the first, it’s well known that surrounded Pixar when they were working on A Bug’s Life (1998), how do you cope with all the expectation? Let it go to your head, scare the life out of you or just go ahead, reinvest the money you’ve made into the new film and just get on with your next production, hoping it breaks even. For Selznick he would always live in the shadow of Scarlett O’Hara and Rhett Butler never able to break free of them.
So why return to this admittedly obscure film that tries so hard to be as grandiose as Gone With the Wind? I guess it was a chance to see where all the energy and ideas went, also a healthy dose of curiosity to try and understand the thickly laid sexual overtones in the film which went over my head originally, or memory has simply failed me. I needed ultimately to understand what’s going on in this film that has been shouting at me to take in once more.
My first reaction was how grand a scale this Western is, before we even meet Pearl (Jennifer Jones) the mixed race woman who is eventually torn between two men. We see a mass of people outside in Mexico, sex, dance, drinking and debauchery, it’s a world you want to be part of before, the exotic of Mexico filled with characters we won’t even meet. No expense has been spared in making this a rich, dramatic and intense film. At least that is the intention; there are times that I think that O’Selznick is just showing off, spending money like water, running away from realism into pure romanticism, trying to repeating the winning formula of Gone With the Wind, 7 years previously, he’s fighting the giant that is his own shadow and it shows. There are literally hundreds of extras, this is in the time of sound and increasing costs, its madness at times. However when it comes together we have these dramatic moments that raise this from being just another routine Western yearning to be an epic.
Ultimately we have another version of Gone With the Wind really, except we are not fighting the Yankees, they have long since won the war. There are still two men to one woman with a different dynamic to the love triangle, they are both after her, instead of each one after another, a winning formula for romance and drama, lets just see how it plays out. A woman coming from a mixed marriage, tainted by blood of a Mexican/Comanche and a White Southerner – Scott (Herbert Marshall). Both die in the opening scenes of the film, leaving her to live with her fathers first cousin Laura Belle McCanles (Lillian Gish) who has two sons so very different they bring out the best and worst in Pearl. They do however awaken her from her innocence, a young woman, confused and dirtied by her heritage, sexually unaware of her power.
It’s the brothers who I remember the most, good vs. evil, the best and worst of their parents. Lewton ‘Lewt’ McCanles (Gregory Peck) the epitome of the cowboy who can break a horse, have a good time on a drive, complete with a sex drive that has to be met. Hoping he has found his equal in Pearl who at first rejects his advances. Instead turning to the educated Jesse (Joseph Cotten) the polar opposite of his brother in every possible, wanting to bring out the best in Pearl who wants to be the girl that her father wanted her to be. However since his death she has to make her own path in a world that is full of temptation in the Wild West.
What I found interesting about the casting is that Selznick, casting three very popular actors opposite three from the silent era (Harry Carey, Gish and Lionel Barrymore), the producer is catering to audiences old and young. However the themes are very adult, even for a post war audience, I’m surprised so much got passed the censors, from the longer than three second kiss to the advances in the bedroom, the flesh in the skinny dipping. Today we wouldn’t think any more of it, you could say it was ahead of its time, brave even to depict such themes so overtly. The emotion and action is cranked up, the use of technicolor, the use of reds, yellows and oranges to increase the intensity of the film. Visually the film is very unique meaning it will always have a places in the genre, for being just that; unique and it’s wanting to be more. It’s over the top visually and emotionally, bleeding it at times that you need to take of your handkerchief to clean up the excess.
I’ve been looking out for Ulzana’s Raid (1972) ever since I read about it a years ago, discussed in relation to Native American’s once again. Focusing this time on an army company of men in search of a band of Apache who had left the reservation at the beginning of the film. Something which I can relate to in my current work. Naturally the army’s notified of Ulzana (Joaquín Martínez) and his braves who have left over night. Today you would rightly be behind the Apache’s to make a break for freedom. I noticed as the film progress as much as it has dated it has a new relevance in the age of ISIS and Islamaphobia which has gripped parts of the world. I’ll explain my observation as I carry on. My initial reading (literally) was a comparison with McIntosh (Burt Lancaster) and Ethan Edwards (John Wayne) yes there’s more discussion about The Searchers (1956) this time focusing on how the white man functions with his knowledge of the other.
Much like my review of The Stalking Moon (1968) we have an army scout with knowledge of “Indians” for Edwards the knowledge comes from an undisclosed place in a back story that fuels his hate, scaring those around him to the point of alienation leaving him with his unwanted mixed race Cherokee Martin Pawley (Jeffrey Hunter) who stick with him throughout, thick and thin. We can only presume his knowledge comes after leaving the Confederate Army, being absent from the surrender he follows a different path from everyone else who has seemingly adjusted to post civil war life.
With Edwards out of the army, I turn to those still in the army, Varner’s (Gregory Peck) seen as a knowledge, the army want him to stay, they feel safer with him and his partner riding with them. I can’t really imagine Peck ever being as dangerous as Wayne could ever portray. Even the white woman Sarah (Eva Marie Saint) feels safe in his company as her escorts her home. Turning to Mcintosh he is as worldly-wise as they others, you can see it on his face, he has seen a lot, done a lot and even married a Native woman for his wife. Something that Edwards would never contemplate, his racism wouldn’t allow it. He is more willing to share his knowledge as advise not to scare the cavalry men he is riding with. He wants to educate not fear them, he doesn’t need to do that as the trail of blood-shed speaks for itself. He instead explains what they do and why.
If anything the explanation for all the atrocities is better explained by the sole Apache Ke-Ni-Tay (Jorge Luke) whose allowed to have a good portion of the script. He’s better able to answer all the questions that the men have. Especially for wet behind the ears Lt. Garnett DeBuin (Bruce Davison) who sees all this death as meaningless, he wants to act without fully understanding his enemy. He’s Lt. Col. Owen Thursday (Henry Fonda) before the racism has set in, wanting to make a career and a name for himself in the army. Here’s the chance to learn and change his perspective and direction in life. With the motives for the Apache’s explained by Ke-Ni-Tay, acting as the others representative. Today he could represent the hunted ISIS (and rightly so to) he becomes the misunderstood Muslim who has done nothing wrong, whose labelled the potential terrorist in their absence. Racism without cause, fear is wrong directed to Muslims when 99% of them are as decent as everyone else we meet on the street. It’s the 1% who are disillusioned, radicalized and want to inflict harm on the rest of the world. Back in the Western of the 1970’s the Native Americans act as the Vietnamese who have been wrongly killed because of the fear of communism (I know there’s more to it than that).
I want to look at some lines from the film, something I do rarely, a few stood out for me that I have to interrogate.
Do you hate Apaches, Mr. McIntosh? – Lt. Harry Garnett DeBuin
No. – McIntosh
Well, I do. – Lt. Harry Garnett DeBuin
Well, it might not make you happy, Lieutenant, but it sure won’t make you lonesome. Most white folks hereabout feel the same way you do. – McIntosh
Why don’t you feel that way? – Lt. Harry Garnett DeBuin
It would be like hating the desert because there ain’t no water in it. For now, I can get by being plenty scared of ’em. – McIntosh:
It feels like a conversation that could have taken place in Fort Apache if rank wasn’t a problem between Thursday and Capt. Kirby York (Wayne). Instead with have the advantage of age over experience. The time to consider whether there is enough time in life to devote so much to hating a race of people. McIntosh understand his commanding officers position but has given up on the emotion as it only gets in the way of living and functioning as a human being out in the frontier.
Turning now to the violence of the film, this isn’t one that young kids could watch and get a sense of fun, the cowboy and Indian dynamic of the past is not present in this film. The violence is more brutal. Animal rights groups would today have ensure animals were treated better. There’s nothing to suggest that any animals were harmed or not. This is a few years before Heaven’s Gate (1980) and exploding horses in the name of art. As much as the violence is tame in some respects, when you see a horses neck being cut you think twice about putting a young child in front of the screen. We are meant to see these violent acts, suggesting that the Apache are not civilised, they are capable of terrible acts, making the cavalry’s presence all the more relevant. The savages have to be tamed if possible at all costs. Although history would argue they only ever acted in self defense at the threat of losing their way of life. Once again I am mixing fact with fiction and in film that doesn’t always work.
The depiction of the Native American’s doesn’t really fare that much better than the animals, They are treated once again as savages with skills of the wilderness. They become more desperate over the course of the film, as if they are broken down. They way they treat their horses/ponies is not really as animals to respect but more as tools that can be disposed of. Practically seen as people you wouldn’t want to have dinner with. They are however seen as a people who can work together with only gestures, almost as if Ulzana is orchestrating his men from a distance which I can’t help but admire.
So to sum up as I explore The Searchers through other films I am building up a bigger picture of how it has influenced others films and the western genre. It’s clear that Edwards is a powerful and very human character that interests us even to this day. The role of the outsider and racist will always be a dangerous one. Lancaster doesn’t play that role, take cues from Peck, two trackers who are able to function, to take a step back from the other. Instead its given to the younger man Lt. Harry Garnett DeBuin who as much as he is eager to learn, he is being shaped in front of our eyes. This mission wont easily leave him, just as the 1956 classic will never leave me.
A much-needed re-watch which has come a year after reading into The Stalking Moon (1968) compared to The Searchers (1956) (again) which I had to watch once more to see all the readings into the films depiction of the Native American for myself. It comes across as another possible narrative strand of The Searchers which really ends where Moon picks up. After a group of Apache are rounded up by the army, possibly having escaped a reservation or going to. Either way their freedom is over and future is determined. We discover a single white and blonde female captive Sarah Carver (Eva Marie Saint) who has been assimilated into their culture, she has assumed their language, dress and thinking.
For all intent and purposes she is a Native American, that is in the eyes of Ethan Edwards (John Wayne) who would more than likely left he to die or killed her himself. Not the army scout/Indian tracker Sam Varner (Gregory Peck) who readily accepts her as white or even just human and a woman (be that in 19th century terms). She is a free woman to do as she pleases, bringing her son with her, also that of Salvaje (Nathaniel Narcisco) which is Spanish for savage. If you know your Spanish you are already being given a pre-loaded conception of who this mostly un-seen figure is. Not unlike Scar (Henry Brandon) who we see a few times and interact with in the earlier film. The Spanish translation is cicatriz as the Mexican in the cantina tells Edwards.
I can’t really compare Varner and Edwards both are very different characters and that’s not the point of this re-exmination of the film. For me it’s about how the later film has been influenced, taking the same iconography and the depiction of the Native American. You could say they are one and the same film in some respects. A woman’s rescued from a life with the “Indians” which is either looked down on, mocked or pitied. In the genre you are better of dead than alive being a squaw. In reality women and children were only taken as prisoners, used as leverage with the army to stay on their land. Most of not all were later released, you can see where the myth begins though which has allowed the on-screen image to become bigger and more exotic. Being captured and living as one of a number of squaws with a one of the warriors or even chief, having a number of children, usually after being raped. Not a pretty picture but one that both dime novels and Hollywood and built up and reinforced.
So with this image built up on paper and on-screen, the Native American all but quieted on reservations the myth of conquest’s being formed and reinforced by clichés which we see in both The Searchers and The Stalking Moon, they are always seen through the eyes of the white man, usually the tracker who has a vast knowledge of them, which the audience dripped fed. Edwards is delivered with hate and disgust, whereas Varner’s more about the survival skills which he uses against them in order to stay alive. There is no real hatred behind his eyes, he is even close friends with his younger partner in the army a mixed race Nick Tana (Robert Forster) who looks up to him as a father figure. We can see that the fight between his two heritage was won by his white side, which in turn makes is easier for us to engage with him.
Going back to the depiction of the key Native American, both come from over-used nations – Apache and Comanche- the very names are more exotic on the ear, and sound more frightening than others. Scar the Comanche chief has lines and shares screen-time with Edwards, neither like each other and you can really feel it as they have a fruitless trading session. Whereas Salvaje is not even seen until the finale which is more about tension. He’s treated as an animal who has to be stopped in his tracks. There’s no eye to eye scene until it’s too late to do anything about, Salvaje is very one-dimensional and his only one goal to rescue his son from the white people, more able to accept his mixed heritage but not his circumstances. For the majority of the film he is only seen in the form of the aftermath of the victims he leaves as he comes in search of his son. He is the Apache Ethan Edwards going all the way to find his son, except it’s not over the course of seven years, more like a week if that.
The cost of the deaths could’ve been avoided as its pointed out to Sarah who is eager to get moving back home, knowing she needs to keep moving to survive with her son. She’s taken into the care of Varner who takes it on himself to escort her so far before getting to her destination of Silverton, her home town. She and her son (Noland Clay) who’re treated as second class citizens, with restricted travel and casual racism.
I must touch on the ranches that feature in both films, The Edwards ranch where we begin in The Searchers and with the Jorgensens as Debbie (Natalie Wood) is safely returned by to white safety and civilization, restoring her you could say. That restoration happens far earlier for Sarah, discovered at the beginning The Stalking Moon and is later invited to stay, possibly live at Varner’s ranch where we see inside far longer than the establishing scenes of Ford’s film. We only see the beginning of the Comanche raid, we don’t see anyone, nature discovers them first. The ranch is barricaded, cutting to Scar who has already found a young Debbie in the family graveyard, which is where her white life ends and “Indian” life begins. Back to New Mexico where Varner’s ranch and battle ground for the finale of the later film takes place. The danger is brought back to the homestead which eventually end with Salvajes death restoring order. Sarah’s able to adjust to White mans life along with her son, much like Debbie Edwards before her.
As I have found they share a lot of the same themes and imagery, just reordering them within the same basic landscape of the American West. It’s the last real conventional Western retelling of the same plot before we enter the modern world where Native American’s are replaced with criminals and other low-life that replace the previous obstacle. We have lost the racist in Edwards for a more well adjusted figure in Varner who can easily live among others. I guess the only true comparison would and will always be Travis Bickle (Robert De Niro) whose an urban outsider, to dangerous for mainstream society. I think I know which film I’ll be watching again soon.
For Christmas 2014 I received a book that I’ve only just finished (I’m a slow reader) Five Came Back: A Story of Hollywood and the Second World War by Mark Harris, the focus of the book on the journeys and events surrounding five directors who gave up their careers to document the war. Namely John Ford, John Huston, Frank Capra, George Stevens and William Wyler. Who all did their bit for their country, driving the message home that there was a war going on. Men were away from home fighting for freedom. I was making connections between the directors experience and later works, especially that of William Wyler who came away practically deafened in the name of filming the conflict for audiences back home and in uniform. His last completed documentary being Thunderbolt (1947) released after the war to the public. Only able to hear via a hearing aid and only just His adjustment back to civilian life was hard, needing to find subjects that reflected his experiences. His last civilian effort – Mrs Miniver (1942) may have been a winner at the awards yet for him it lacked the reality of real warfare. I personally left that film, uplifted, experience a classic war film on the home-front, even though made across in Hollywood. Maybe it was the actors who made it, maybe it was the on-screen comradely. The general public doesn’t go in looking for accuracy, they go for escapism and that’s what Mrs Miniver was and still is.
His first film back in civilian life The Best Years of Our Lives (1946) sees a grounding in his working, looking at those soldiers who have to return to the lives they left behind. As if they are stuck in a moment in time, whilst the rest of the world carries on. I want to seek out this film to understand it more. However what I want to talk about is a film that I haven’t seen in some time – The Big Country (1958) from a director who made very few westerns in his career. This one stands out in the genre, it has a universal quality to it. The sweeping iconic score from Jerome Moross who is much forgotten himself over the vast landscape where this bold Western plays out.
So where does the rawness come into The Big Country? that’s what I wanted to know, where are his experience of life on the screen. I have to look at this film from the point of view of the director not so much the characters which act more like vessels for himself. Each different aspects of his life. The open country that is so breathtaking for us to eat up is a reflection of the land of opportunity that Wyler came too in the early 1930’s when he escaped Nazi Germany before it could have killed him. Entering into the middle of cattle country, the big-business of the 19th century, of course a mirror of 2oth centuries being film. James McKay (Gregory Peck) is the outsider who has live a life in the refined East, and on-board sailing ships, a gentlemen entering a world that is alien to him, and where the meaning of being a man is very different, bringing with him some 20th century ideas as we find out. Coming out West to marry the woman Patricia Terrill (Carroll Baker) he met whilst she was out in his world. He is making a massive sacrifice to literally leave his world behind him for the rugged outdoors.
His manhood’s tested not long after his arrival in the form of the Hannassey brothers, the rival cattle family. They are a what McKay is not, rough with a gun at their side, not so bothered about their appearance, these are cowboys the man of the West who knows how to handle himself, nothing scares them, at least on the surface. The test is a failure of sorts, not fighting back in front of Patricia whose gun is lost and forced to bring her carriage to a halt to be harassed. She is starting to really see the man she is about to marry. Not a complete mirror image of Wyler’s first few years, having to adapt to a different way of working. The films he was given to direct. Yet come to be-known for his multiple takes, pushing even the hardest of actors which included Bette Davis.
Of course it’s only when we meet the older men of the cast, the heads of the Terrills – Maj. Henry (Charles Bickford) and Rufus Hannassey (Burl Ives) who is the complete opposite. Both powerful men in their own ways, men to be feared if crossed. For me if you take away Peck from the film you still have Ives who stole the show, chewing the scenery, owning the landscape as if he was born there. These two men could mirror the studio moguls who kept their stars in check, decided their future and could easily make enemies. Also most of them European and Jewish which is the major. The chosen enemy of the Nazi’s and resented by Americans for their success and power in their own country, making and living the American dream, dictating what audience would ultimately watch and listen to. Of course in a Western everyone is mostly American, even the rival families who are fighting for drinking rights. When you listen to Maj. Henry you can feel the hate that he feels for the Hannasssey’s who live in the mountains, not the fields of rich grass. Who should we as an audience side with? Personally I was drawn to the Hannessey’s more so Rufus who speaks more from the heart, the down-trodden man who wont stay down. I think what got me was the first time we meet him, as he interrupts a party shaming the Maj. into getting him to pick up a gun to kill him. The Maj. doesn’t take the bait, the better man, or out of gentlemanly modesty he refuses.
Of course what stands in both the families ways is the Big Muddy, land owned by school teacher Julie Maragon (Jean Simmons) who holds the real power between them. Wanting to be the meadiator, wanting peace. She is the ideal even though her land is not covered with cattle, the house is in a state of dis-repair. Best friend also of Patricia who is like one of the short-sighted, her fathers daughter in short that wont easily have her mind changed. It had been so long that I forgot the romantic outcome of the film. We’re not supposed like her much, compared to the more feminine Maragon who has more Eastern qualities which 20th century America can associate with. As much as Patricia is saying what a man should be, whilst Julie is more accepting of the man in the form he comes.
This has become more of an essay (of sorts) than a review, I want to quickly look at Steve Leech (Charlton Heston) the adoptive son of the Terrill’s who has become the man that is the ideal, the one that even Wyler may have wanted to be, but only ever be Mckay in reality which is all I could ever be out in that world. They do meet head on in a sequence that I mis-took for suspense as they both show their real strengths to each other, a long fistful goodbye, that last a good five minutes, far longer than most on-screen fights which at that length today would fall into parody. They develop a mutual respect for each other. That’s after the knowledge that we have that McKay has proved himself to be a man of the West in certain ways, adapting his knowledge from the East to the West, even if he can’t prove that to those who matter, he has to keep those success’s quite until its too late.
The finale is a long drawn out battle of two warring families finally meeting in Blanco Canyon, the rugged dangerous mountains where so many other Westerns have taken place, usually home to the Native Americans who can hide out and wait for the white man to enter into their world. Here its the home of the Hannassey’s who are the underdogs, even seen as white Native American of the film, but more acceptable because they are white. Its become warfare between two men who have to prove themselves. Not before a few tests of strength between Mckay and Buck Hannassey (Chuck Connors), where we see love losing out to honor at times. Its as dramatic as the film gets before we get down to business.
It’s a long film even for a Western but it does hold your attention for the length of 2hours and 39 minutes, nothing is wasted with time for action, romance, violence, war and hatred. That’s a to pack in to even the standard length film, it spills out on the vast canvas. When you read it in the light of the directors eyes you see something far different than just a Western, something that speaks from an lone outsider who had long been accepted by both his peers and the country he lived in. You could say he lived the American dream, thing very idea that The Big Country is all about.
I’ve watched two gunfighter westerns in a row now, Gunfight at the OK Corral (1957) and now The Gunfighter (1950), both of which I’ve not seen in sometime. Both sharing the theme of the life of the gunfighter, not having a place to call his own. A reputation built upon fear and sheer luck, not able to stay in one place for too long. I could stop the review there,I have just summed up The Gunfighter in a few sentences, but that wouldn’t do the film justice, which isn’t fair. So I will be going to explore this very short film that takes place mostly in a saloon bar-room. Used as a place of hide-out from the rest of the world that is wanting to put a bullet in him.
After running from one town at the beginning where he is tested by a “squirt” who wants to makes his mark in the world, to earn a name is gunned down legally (back in the Wild West) which at the time is still acceptable. The right to defend yourself is enshrined into the American Bill of Right you can understand the countries relationship with the deadly weapon. That hasn’t really changed much, of course you need a licence now and a motive for defence has to be rigorously tested in court. The Gunfighter explores the psyche of the gunfighter properly for the first time here. The giant men of the west such a Wyatt Earp, Billy the Kid and the likes are or were dangerous men who have been glorified. Earp did as we know become a marshal as I have recently seen portrayed by Burt Lancaster. Both Earp and Johnny Ringo (Gregory Peck (in The Gunfighter)) both have learnt from past gun-fights that it’s not really a life to aspire for. It’s an aspect masculinity that is really a flaw that needs to be kept in check. To know when to draw a gun, to defend oneself.
Packed into the short running time we have the repercussions of that last gunfight as three brothers come after him. That’s not before we discover how good Ringo is with a gun, he is not a man to be messed with. Or one that wants to mess around, wanting the quiet life now, becoming to talk of the town where we spend the majority of the film. The saloon, his hide-out from the world, and probably where he killed most of his victims all over the West, it’s only the interior and people that change. It also reflects how trapped he is, unable to move freely for the reputation that precedes him. Boys skipping school to catch a glimpse of what they believe to be an idol in their town, seeing him as a role model and not a murderer.
It’s thanks to old friends such as Marshal Mark Strett (Millard Mitchell) that support him, keeping him safe from those wanting to try their luck with Ringo. Learning that Strett is himself a reformed gunfighter who went straight to now enforcing the law. We also have Mac the barman (Karl Malden) who is both in awe of Ringo yet is able to look beyond to see the man without the gun. A man who just wants to see his old flame, school teacher Peggy Walsh (Helen Westcott) who couldn’t accept him. Forcing him to leave her and his son behind.
The Gunfighter is not all about the action that comes from bar-room brawls and quarrels that have to be sorted like gentlemen out of the street. Its about having to deal with your path in life and how it affects other people. Taking the route of violence may have its appeal at first, which wears off when you start to really hurt and kill. Summed up far better by William Munny (Clint Eastwood) years later in a few lines.
“It’s a hell of a thing, killing a man. Take away all he’s got and all he’s ever gonna have.”
When you look into the life of a gunfighter once the crowds have gone, what do you really have? People living in fear, families of victims wanting vengeance and justice, the fear of someone being faster than you are. That’s before you get the glory that comes with the title of being a gunfighter, not to be crossed or wronged. Losing out on having a family and a partner to call your own. The Gunfighter starts to take the western seriously, the figures of the West before were seen as heroic figures before the law takes them down or they change their ways. Now the western is growing up as the 1950’s are beginning.
- Movie Review: Gregory Peck in The Gunfighter (1950) (mark-markmywords.blogspot.co.uk)
- 41. The Gunfighter (wondersinthedark.wordpress.com)
- The Gunfighter (1950) (buddiesinthesaddle.blogspot.co.uk)
- Weekend Marquee — The Gunfighter (greenbriarpictureshows.blogspot.co.uk)
- The Gunfighter (1950) (thegirlwiththewhiteparasol.blogspot.co.uk)
- The Gunfighter (Fox 1950) (jeffarnoldblog.blogspot.co.uk)
- The Gunfighter (1950) (nothingiswrittenfilm.blogspot.co.uk)
- TOP 21 FAVORITE WESTERNS — THE GUNFIGHTER (westofriver.blogspot.co.uk)
From the brief description that came before On the Beach (1959) I was intrigued coming from a Sci-fi fan point of view, it’s not very often that an A-list cast of this period would come together to make such a thought-provoking film. Based on a Nevil Shute’s novel of the same name that is obviously inspired during a time of intense discussion around the rise of nuclear weapons, not twenty years after the close of WWII do we see the world’s major powers arming themselves with weapons that if used could ultimately lead to the worlds destruction far quicker than the two previous wars put together. Thankfully the powers that be have been able to keep their hands off the giant button that could launch us to the end of civilisation as we know it.
The details of the event that lead to a U.S submarine surfacing in Australia are kept rather close to the characters, not wishing to discuss even amongst themselves, which adds to the sensitivity of the event (whatever that maybe). We do get an explanation of sorts later on as to what could have happened, its all seen as conjecture really, no-one knows the truth, what happened in the western world saw it fall to it’s untimely demise. Only leaving Australia left free from the effects of radiation caused by the bombs that were launched.
For a film with few special effects, not a rocket’s are launched, no mushroom clouds rise from the ground, the audience still engages with a film that ultimately can’t have a happy ending, Something that is rare for this time in American film where the happy ending is king, justice is served, the live happily ever-after. It just can’t happen for those left alive in this version of the world that had to fire up those deterrents that should have been just that.
There has been discussion on and off for a few years about the renewal of the Trident system in the U.K. do we need it, it’s too expensive. I believe we need to protect ourselves, but would we ever use it? What cost would it have to our country and the wider world? There are enemies out there that may not respond to such a show of force. It is a last resort and should only be that. Here in On the Beach those lucky enough to still be alive are dealing with that, the actions of those who pressed that button only to end up dying because of it.
With the event behind us at the beginning of the film we have only to wait for the end really, filling in that time with the final days of a submarine commander Dwight Lionel Towers, (Gregory Peck) who along with his men are in the unique position of being the last of the American race left alive, avoiding all the devastation of back home. Falling for a Moira Davidson (Ava Gardner) who has never really had a man in her life, doesn’t want to be alone, fighting to be with a man who at first cannot accept and grieve for his family. Leading a strong cast in a film that remains serious throughout, without preaching to the audience, that’s left to the direction, cinematography and soundtrack creating an empty world that will soon become far emptier very soon as the radiation takes a hold of the country.
Even looking at the final hours and days of the average man who can choice to die in pain and suffering from the radiation or take a suicide pill that can end it all, with a shrewd of dignity still in tact. It’s all pretty grim stuff really, handled sensitively. Could it be propaganda? Probably leaving us in no doubt that using nuclear weapons can only have one real outcome, the end of life on earth as we know it. Even as life carries on in Australia for a short time, they’re slowed down, returning to outdated vehicles to get about, running out of supplies.
Yet it’s the return to San Francisco on a mission following up a signal they picked up, only to find it’s a nothing. Whilst there, the images of a usually busy landscape brought to a standstill, devoid of life, as if it was the early hours of the day and people are starting to stir, not venturing out. But it’s not dawn, they’re all dead. These are the images that drive home to the American public what could happen if the bombs went off, even miles away off in the ocean, it could still be felt back home.
I thought I’d give this lesser known Gregory Peck western, made during a time when tests were indeed change, the very style of the western had taken two paths, the dying classic and the revisionist. This falls into the first, a form that allowed old favourites such as Peck, John Wayne, James Stewart and their contemporaries to continue working, there was indeed still an audience and that is still here to this day, however there is a sense of tiredness, the actors aren’t spring chickens, audiences had also become more sophisticated. It shows in Shoot Out (1971) the change in tone of language from the beginning when ex-convict and bank robber Clay Lomax (Peck) is released from prison. The genre wants a new audience, even with younger characters that are employed to bring him in un-harmed.
With a simple set-up it should be straight forward, as the younger men lead by Bobby Jay Jones (Robert F. Lyons) are put to work in an older man’s world. The classic west still exists, allowing new life to breathe in it. Time has not been kind to the older men, one fresh out of jail, a saloon owner Trooper (Jeff Corey) an ex-soldier is now in a wheel chair, whilst the Jones employer Sam Foley (James Gregory) having made his lives fortune sits in waiting. Acting also as a new generation in waiting to make their own mark in film and the genre.
For Lomax he begins his freedom set out to exact revenge, yet before long he is in delivered a package that he had not bargained for, a reminder of his past, a possible daughter Decky Ortega (Dawn Lyn) who steals every scene she’s in, making up for genre that looks tired, a lead actor, whilst giving his best is just too old for the role. This coming from a period in films when older men were still being seen as fathers of young children. When in reality their own had grown up and left home. However you can still feel the drive to get to his destination and exact revenge against Foley who shot him in the back, landing him in jail for seven years.
It’s the young men who follow him who deliver most of the violence, as they stalk the man and girl across the same country that director Henry Hathaway used in True Grit (1969). If only a few more shots had been fired before Lomax finds them on his trail. A trail that sees him begin to beyond with the outspoken young girl who is already showing signs she’s seen and learned somethings in her short life, all courtesy of her now dead mother. Whilst he wants the best for her, he knows the open road is not a life for her, he starting to try and palm her off before settling for a life with her in it.
Having the children is highlight of this film, with her we have all the comedy, and the vulnerability. Yet without her we would have more danger than we have, even towards the end when everyone is at the Farrell ranch, the William Tell fun and games which delivers the real danger. It’s rare to see children being brought into the adult world of western violence, usually running for cover, or starring from the sidelines. The children do allow for different kind of violence, making us think about contemporary domestic lives, when we see children caught between adults, here directly in the firing line. Even violent crime where the child is put at risk. Bringing out the best and the worst in the characters to ensure justice is delivered at the end of the film. I just wish that after all that we had the showdown between Foley and Lomax thats where the real argument was supposed to be. It’s as if they ran out of film and made the best of the ending they could there is literally no shoot out between the two older men, more so the young and old, the kids sadly get in the way.
- Shoot Out (Universal, 1971) (jeffarnoldblog.blogspot.co.uk)
- Shoot Out (1971) (every70smovie.blogspot.co.uk)
- THE CLASSIC WESTERN IN TWILIGHT: SHOOT OUT by Fred Blosser (newimprovedgorman.blogspot.co.uk)
I first saw this a few months ago, but the recording cut short of the ending that I discovered may have been a let down (which I’ll get to later). I held out to finally see The American (2010) in full which I was quite taken with, latching on to the thriller aspects and the lack of dialogue, which is rare in Hollywood films, something that obviously hasn’t put off its star George Clooney as the worn out assassin Jack/Edward who has lost his edge. Clooney has the clout now with his production company to make whatever he wants really as he uses this to his advantage. Going to Europe adopting the film-making style that makes this little film really stand out.
After Jack/Edward kills an innocent woman who he was staying with, which comes out of nowhere, we are not catching him at his best. Deciding to go into hiding, first meeting up with his boss Pavel (Johan Leysen), who is angry with the botched killings who gives him keys to a car and a house to hide out in. He takes the car and makes off to anywhere but the chosen location, throwing out all the kit he has been given, relying solely on himself.
Staying in the quiet Italian village of Castel del Monte where under the instructions to not make any friends he does the just the opposite in the local priest Father Benedetto (Paolo Bonacelli) who can feel that Jack is carrying a heavy burden, having sinned many times. And a local prostitute Clara (Violante Placido) who forms more than a client-prostitute relationship with. Both of these see him start to open up, yet always on the edge of breaking, he is reclusive even to these two.
He decides to take on one last job that would see him free of the assassin life that has begun to eat away at him. Much like Colin Farrell‘s character Ray in In Bruges again riddled with guilt but a far worse sin of killing an innocent child. In the assassin business there is no room for mistakes as we later learn. Concentrating on the tailor-made gun for his client Mathilde (Thekla Reuten) a woman who sees this as a transaction and a job, nothing more. Jack just gets on with the job the best he can, placed into awkward positions at times. More so when he finds a gun in the purse of Clara is everyone around him set on killing him. He feels his life is on the line as we learn and feel in the short running time that constantly knee jerks the tension in this quiet country town.
Moving onto the ending as the transaction is finalised and money is being handed over I felt as the double-crossing is happening you can imagine the dramatic ending is in sight. Instead we are given a quieter finale as he basically drives to his death. Did he get his just deserves or not? I’m not sure he did, he does the job and lives by his wits in order to escape his old life. I’m left frustrated by this ending that fails to really deliver what could have happened. Was director Anton Corbijn going for man goes to the woods to die in peace like an old dog? If that’s the case it doesn’t live up to what I expected. We all know that assassins never have an easy life so why make this death so easy?
I was left with one final thought after watching the behind the scenes of doc, which made the comparison to a western, which I can see. It’s very subtle here, a lone man does ride into town with a dark past. Befriending the preacher and local prostitute, only 50 years ago the Clooney ‘part would have been played by Gregory Peck or more suitable Robert Mitchum. Making this a neo-western only by coincidence really for me, its subtly done and well too. It’s a European thriller neo-western with an American lead, which allows for a bigger audience engage with this tight film, I just feel let down an ending that should have delivered more.
I watched this for the first time on Youtube, which I regret, it’s not the best way to watch a film and doesn’t do justice to a piece of work directed by Alfred Hitchcock, this time it was Spellbound (1945). Not the strongest film, yet rich in psychoanalytical detail when a disturbed man taking on the identity of a Dr Edwards (Gregory Peck) who takes over the running of a mental asylum Green Manors. Almost immediately he is confronted with disturbing episodes that see him dizzy spells that grab the attention of one doctor. A doctor who puts her profession before her private life, which almost but fades into non-existence. Dr. Constance Peterson’s (Ingrid Bergman) life becomes her love interest too.
What starts as a series of curious episodes that seem to be connected by lines and the colour white become so much more when his true identity is revealed to us all. If only there wasn’t a signed copy of the pre-eminent doctors books. And of course the entrance of the police that cause our couple to go on the run from the law. Hoping to us psychoanalytical techniques to understand this case of amnesia which is stopping the truth from being know which almost consumes Dr Peterson understandably irritating her patient/lover (now known as) John Brown across the country.
The couple arrive finally after more drama at the home of Dr Peterson’s mentor Dr. Alexander Brulov (Michael Chekhov) who is a relic of this school of psychology, and the clear master in the presence of his protegé who stands before him almost a bumbling wreck consumed by love. They come together for what the film is best remembered for, the dream sequence designed by Salvador Dali which kick starts what could be seen as a run of the mill mystery. The second half of the film is more of the hallmarks of Hitchcock, taking on more voyeurism than in the first half to make the audience feel of balance as the events unfold for our characters as the travel once more to discover the truth and arrive at a dramatic twist full of fast-paced scenes that push the plot forward using only lighting to creates the courtroom dramatics. A technique which is perfected by the time of Dial M For Murder (1954).
The conclusion is more muted than I remember before the truth is revealed with deadly consequences that would un-nerve an audience of the mid-forties. Overall Spellbound is more about the psychoanalytical school of psychology used to solve a mystery, there are efforts to take the audience on a visual journey that leaves you shaken, by what we are capable of if and when we slip into altered state of mind.
- Reviews of Classic Movies: ‘Spellbound’ (robertsnow.wordpress.com)
- Spellbound (1945) – #136 (criterionreflections.blogspot.co.uk)
- Hitchcock Day 7 – Spellbound (1945) (ulyssesmcqueen.blogspot.co.uk)
- Spellbound (1945) (classicfilms-kallim.blogspot.co.uk)
- Dali’s Surreal Dream Sequence in “Spellbound” (1945) (theartofilm.blogspot.co.uk)
- Spellbound (1945) (johnlprobert.blogspot.co.uk)
- Spellbound (1945) (unecinephile.blogspot.co.uk)