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.
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)
Last night I was taken aback by a post shared on Facebook, which in-turn I had to share. It was so breath-taking at the time when I saw fifty montages of fifty westerns. Comprised of every frame at 10 second intervals. An investigation to discover the overall colour palette and look of the film. All with incredible results when each of these frames from the respective films are placed upon each other to create a ghostly blur of an image. It doesn’t sound much when you think about it. A methodical task to understand the make-up of the film. A process better explained by Kelvin Ferguson in this post which had me at westerns.
It’s Ferguson’s thoroughness of the work that really drew me to the work, taking a huge number of films and analysing them. The genre is far from dead, it’s breathing summing up the aesthetic of the genre in 50 images, well quite a few more (you get the idea). They are so intricate, drawing you into take a closer look at these films. Admittedly the black and white film aren’t so successful, there are some interesting surprises which do pop-out at you which brings out the essence of the individual film.
Each time I look at these I see something different, It’s like looking into the clouds or into TV static creating new images out of noise.