Slim-4's Reviews

Le grand défi (1986)

9/10

This is one of the greatest sports movie ever made and scores on several levels.

5 February 2000

This is a beautiful film that offers much more than the usual sports action. It tells the story of a tiny Indiana high school whose basketball team soars to great heights in the Indiana State High School Basketball Tournament.

Gene Hackman plays a coach with a checkered past. Ultimately, we find out about his past. Dennis Hopper, an avid basketball fan and the local drunk knows but doesn't tell. Barbara Hershey finds out and the story is revealed in the stubble of a cornfield as they talk.

Hershey plays a local girl who has come back to teach school after going away to college. "Why'd you come back to Hickory?", Hackman asks her in one scene. She doesn't tell him. I wish she had. Her character is very enigmatic and is perhaps the most interesting in the movie. The character has unusual depth. She is a substitute mom for a local basketball star. She wants him to focus on his studies and to get away from Hickory and basketball. She doesn't understand the importance of basketball to everyone around her. It appears that she may even resent the importance that her parents' placed on her brother's basketball experiences. Resentful or not, she too attends the games to cheer the team on. Her enthusiasm for the game and the team is more muted than most, however. There is a deep ambivalence in her character.

Dennis Hopper delivers a terrific performance as Shooter, the former high school basketball turned drunk. In one scene where he is describing an upcoming opponent to Hackman he is almost poetic. Hackman offers him a chance for redemption when his assistant coach (Sheb Wooley) becomes ill. The film offers us an opportunity to cheer for Shooter's redemption as well as the team. Hopper plays the role with sincerity, humor and emotion. There is a touching scene late in the film in which he and his son interact before the big game. Shooter who is now in the hospital must listen on the radio, but the film doesn't forget him.

I particularly enjoyed the visual aspects of this film. The film's opening scenes of Hackman driving through the rural Indiana countryside are some of the most beautiful images ever put on film. In one scene he stops at an intersection on a narrow road. There is a prettly little white church and a lot of corn. Otherwise, there is nothing. He passes a barn where some boys are playing basketball against a makeshift basket and backboard. This establishes at the beginning the importance of basketball in Indiana. Throughout the film there are beautiful scenes that showcase the Indiana countryside. The film deserves credit for showing Indiana's beauty against the backdrop of Winter.

The film found an beautiful old elementary school at Ninevah, Indiana to serve as the exterior for the Hickory High School. The school was closed several years ago because of asbestos contamination. The last time I saw it it was a wreck. The windows were broken and the building was surrounded by broken bricks and glass. I almost cried.

There is an intimacy in the basketball scenes that is missing from most sports movies. The gym at Hickory reminds me of my old home town at Winlock, Washington. The gym at Hickory, like the one at Winlock, has a dim, boxlike quality which roars to life on game night. In the final scenes the game loses this intimacy as the team goes to Indianapolis for the finals. Hackman realizes this and tries to help his team realize it's just another gym. He has them measure the distance from the foul line to the basket and the height of the rim. "Same as at Hickory", he says.

I also enjoyed Jerry Goldsmith's musical score for this film. There are beautiful cues to help us appreciate the beauty of rural Indiana. There are also pulsating themes underscore the sometimes tense basketball.

This is a great film which can be enjoyed on several levels. It has great characters, a wonderful script and awesome visual values. I watch it over and over again and have never tired of it.

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Destination Gobi (1953)

6/10

Better than average war film which gets extra credit for its unique setting in the Gobi Desert.

14 January 2000

This film has the feel of a documentary as sailor Richard Widmark frets at his role at a remote weather station in the Gobi Desert and yearns to get a ship under him again. Ultimately, he returns to the sea in an unexpected fashion.

The relationship between the sailors and the nomadic Mongols is a crucial part of the film. The nomads are credibly portrayed as human beings who are neither all good or all bad. The film gets high marks for its portrayal of the Mongol culture. It would have been so easy for the film to show people who looked like the Native American Indians Hollywood films are so comfortable with. The Mongol yurts have a realistic look and the film truly succeeds here in portraying a different and likeable culture.

There is little action in this film, but that's really not a problem. The unusual and probably unique story line more than makes up for it. The ending is a little hard to believe, but remember that anything is possible in films. Enjoy it.

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Le train sifflera trois fois (1952)

9/10

Classic Western with an emphasis on story and memorable music by Dimitri Tiomkin and Ned Washington.

14 January 2000

This is one of the few films where the story plays out in real time. Star Gary Cooper has about 80 minutes before the Noon train brings a bad guy to town for a showdown and that's how long it takes. The train arrives on time and the shootout occurs on schedule.

It is the clock that makes this suspenseful Western work. Director Fred Zinnemann makes sure that the camera focuses often on the clock. As the time nears high noon the clock becomes noticeably bigger until the end the pendulum practically fills the screen. Don't bother with this movie on commercial television. Commercial breaks absolutely destroy the timing which drives this film.

The cast does an excellent job with the great script. Gary Cooper plays one of his best roles as the sheriff and Grace Kelly is very good as his Quaker wife who doesn't quite understand the need for violence. They are backed up well by Thomas Mitchell, Lloyd Bridges, Katy Jurado and Lon Chaney. Jack Elam has a good comic moment as a drunk sleeping it off in jail. Lee Van Cleef has a key role as one of the villains. He is the first of the four gunmen that the viewer sees, appearing in the opening credits. Incredibly, he gets through the entire film without uttering one word of dialogue.

The movie is loosely based on a story entitled "The Tin Star". The film has no connection to the movie of that name. The movie entitled "The Tin Star" ultimately honors the badge. In "High Noon" the sheriff finds that the badge carries little honor when the town doesn't support law and order. The townspeople are too eager to sacrifice Cooper to save the good name of the town. Much of the film follows Cooper as he tries to recruit help. He can't find any and perhaps he shouldn't have expected any. In "Rio Bravo" sheriff John Wayne turns down help from his old friend Ward Bond. "You're not good enough", he tells his friend. One of the great moments in "High Noon" is when Cooper realizes he will have to face the four baddies alone. He lays his head down on the desk and cries. It's a touching and credible moment in this great film.

The other element that makes this film work is the music. Dimitri Tiomkin's pulsating score repeats the title song "Do Not Forsake Me" over and over. This has the effect of increasing the tension and pacing the film. In the opening credits Tex Ritter sings Ned Washington's lyrics. The song won the Academy Award and helped the movie succeed at the box office when Frankie Laine--not Tex Ritter--made the song a hit.

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Duel dans la boue (1959)

7/10

Interesting adaptation of A.B. Guthrie's novel about a Montana cattleman's self-discovery.

1 January 2000

Warning: Spoilers

Don Murray plays Latt Evans, an ambitious cowboy who puts himself in the fast lane for success in Montana's cattle country. There is a very good supporting cast in this story with Stuart Whitman as his friend, Albert Dekker as a banker and Patricia Owens as the banker's niece. Lee Remick plays her usual strong role as Callie, another friend of Evans. Richard Egan plays an uncharacteristically villainous role and does it pretty well.

"Remember", Evans' trail boss tells him, "people change. They don't turn out like they started." He realizes that people make decisions and that these decisions have implications for them and others around them. The boss knows Evans better than he knows himself.

In his desire to get ahead Evans loses sight of what's important in life. He works two jobs on the cattle drive that brings him to Montana. He spends a hard winter poisoning wolves. In the end it is a friend's generous loan which gives him what he really wants, his own ranch. Almost too late, he realizes in a scene reminiscent of "The Virginian" that it is friends that really matter.

There are two women in Evans' life and both Remick and Owens do well in their roles. Remick's character is much better developed in the script. She is more than slightly tarnished woman in the traditional Western morality. Albert Dekker advises Evans to stay away from the bordello if he is serious about making something of himself. Callie appreciates her status in the community. "I'm not worth it," she advises Evans at one point when he is about to pick a fight for her. Although she loans Evans the money to get him started she expects nothing for it. The loan is repaid and he owes her nothing more. Even the note Evans receives at the end asking for help was written by someone else.

Patricia Owens plays the banker's niece and eventually becomes Evans' wife. Her character is respectable compared to Callie. She doesn't understand Evans' friendship with Callie, but she tries to do so. Unfortunately, the film does not do her character justice. Evans says that he loves her, but her character gets such short shrift that it's hard to tell why. Is it because she's respectable and Callie's not? I'd like to think there's more to it than that and Owens' role certainly hints at some depth to her character.

The fight at the end probably ranks in the top ten in screen fist fights. It is reminiscent of "The Spoilers", except that this time the mud is in glorious color.

The ending is only partially satisfying. There are too many loose ends. The relationship between Evans and his wife is clarified in the ending, but Callie's fate is left to the imagination. Evans will testify at her trial. "Will it be the truth?", his wife asks. "Yes", he responds. "Then you testify", she says. What happens to Evans' position in the community and his political aspirations in light of his support for a prostitute? The viewer can reach his own conclusions about these issues, too. Perhaps that's appropriate. Evans does what he thinks is right. Who can argue with that?

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Un homme de fer (1949)

9/10

Engrossing study of war in the air as Gregory Peck confronts the psychological stress of running a bomber group in England during World War II.

1 January 2000

This is an engrossing study of the psychological aspects of war. Gregory Peck plays an air force general assigned to resurrect the flagging performance of a bomber group. He succeeds at great cost to himself. The entire story is a flashback seen through the eyes of the general's aide (played by Dean Jagger).

The film presents the horror of war in an unusually subtle way. At the beginning of the film a bomber crash lands. One of the crew is missing. One limb is still in the plane. "Where's the rest of him", one of the cast asks. "In a French hospital I hope," the pilot responds. When it became obvious that he wouldn't survive the return flight, the crew placed a tourniquet on him and gave him a parachute. Dean Jagger climbs into the plane with a blanket and soon reappears cradling something in the blanket.

Much of the film occurs inside the dingy and dark confines of the quonset hut offices of the air group. Decisions are made. Some are promoted. Others are demoted. Ultimately, there is resurrection for the group as they come to have pride in themselves and each other.

Hugh Marlowe has an interesting role as an officer demoted by Peck early in the film. He is assigned to fly a plane named "The Leper Colony", which becomes the home of all the malcontents and incompetents in the outfit. He flies unflinchingly even after his plane crashes in the English channel. His resurrection in the eyes of the general is one of the most touching moments in the film. He is recuperating in the hospital after flying three missions with a broken back. The general realizes that he has misjudged Marlowe. He can't quite come to admit it, but he goes to see Marlowe at the hospital. When the general leaves there are tears in Marlowe's eyes.

There are few action scenes in this film. Near the end there is a scene that contains some great combat footage from both Allied and German sources. There is also another scene where a bomber crash lands and takes out some tents. Apparently, this stunt wasn't originally part of the script, but it was so good that the filmmakers left it in. I would have done so, too.

The psychological cost of war is obvious at the end. Peck can't fly. He has a physical and mental breakdown. Although he can't fly with the group, he can't let go until the planes return. When they do he goes to bed, probably for a long time. He is finished as a commander. He has come to the same point as his predecessor. It is never clear what happens to him. It is perhaps significant that we see the story through his aide's eyes.

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Aux frontières des Indes (1959)

6/10

Exciting tale of late Nineteenth Century India with some breathtaking cliff hangers.

28 December 1999

Except for some unusually exciting moments, "Northwest Frontier" is a standard British Western (in this case Northwestern). This is a truly exciting tale of Nineteenth Century India with Kenneth More playing a British captain delivering a young Hindu prince to safety. Lauren Bacall co-stars as the young prince's English governess.

This film is paced like a Saturday Matinee serial. More and his cohorts go from one hair-raising experience to another. They must dodge broken rails, an almost missing bridge over a yawning chasm, a spy and the usual hostile tribesman. The movie is worth watching for the scene in which the little party crosses an almost destroyed bridge. I knew how it would turn out and I still couldn't help cringing.

More brings his usual British humor to his role as the captain charged with an impossible mission. The script is sparing on the dialogue, which contributes to the serial-like character of the film. Who needs dialogue when the characters are dodging one death-defying situation after another. Bacall plays a somewhat Anglophobic American woman who finds More interesting anyway. She and More make an excellent team, but their relationship would have been worth developing further. Veteran character Herbert Lom is on board for more than the train ride.

Watch this one either under this title or "Flame Over India", which is the name under which it usually appears on the Late Show. You'll be glad you did.

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Hatari! (1962)

6/10

Enjoyable but long John Wayne African Western with plenty of good wildlife scenes.

26 December 1999

John Wayne is in charge in this Howard Hawks directed African Western. His character reminds me of Sam McCord in "North To Alaska". This time around Elsa Martinelli is Wayne's romantic interest.

This is not your standard John Wayne movie. He doesn't get to use his fists once. The emphasis here is on comedy rather than violence. Veteran comedian Red Buttons is on hand for wise cracks and some very funny moments. His capture of hundreds of monkeys is one of the film's better moments.

Some of the action is almost slapstick in character. Elsa Martinelli's baby elephants steal the show. Martinelli's character seems to be a magnet for homeless elephants. Ultimately, they have a central role in the film's finale, a fast and very funny tour around a Kenyan town.

There is plenty of exciting wildlife photography in this film, perhaps too much. The film tells the story of one season on a game ranch that captures animals for zoos. There is little real plot. Much of the suspense revolves around the dangers of capturing rhinos. A rhino gores Bruce Cabot in one of the early scenes. Later, he cautions Wayne to avoid them. Wayne of course ignores him and ultimately they capture a rhino.

Although enjoyable, this film reminds me of a Disney real-life adventure. There is little character development, a slim plot and the whole thing takes far too long. Henry Mancini's score is very nice, particularly the cute "Baby Elephant Walk". There is also some great stunt work, including a jeep crash in which two lead characters are messed up. This film is exciting and worth watching, but don't expect any great moral message. It's not here.

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Badlands of Montana (1957)

5/10

This B-Western benefits from Emile Meyer's portrayal of a bandit and a much better than average plot.

26 December 1999

Veteran character actor Emile Meyer stands out in this better than average B Western. He is ably supported by Rex Reason and Beverly Garland.

The plot in this film has much more depth than in the standard B flick. Local citizen Rex Reason is whipped and forced to flee the town of Cascade after killing his assailant in a fair fight. In his escape he blunders into the hideout of a bandit gang led by Meyer. Reason falls in love with Beverly Garland, who plays Meyer's daughter. "She's not one of us", Meyer says as the bandits vote to decide whether Reason will die or become one of them. Meyer casts his vote for Reason who becomes one of the gang. Later, Reason is captured in a bank holdup. He is given a choice between going to jail and returning to Cascade as sheriff. It seems that the wife of the man he killed has turned the town into a haven for outlaws. He returns to town and cleans it up in about 5 minutes. Outlaw Meyer is brought to jail by some soldiers. Reason quits his job, gives Meyer the keys and returns to the bandit camp for his lost love. This all sets up the final showdown which turns out pretty much like you'd expect in a B Western.

I enjoyed this film and would highly recommend it. My only problem with this film is that there was more potential in the story than was possible to develop on a B movie budget. As a result, some of the plot elements receive short shrift. Reason's cleaning up of Cascade is a good example. However, Meyer's portrayal of the bandit leader more than compensates for the film's shortcomings. He is very credible in this role.

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Le grand secret (1952)

6/10

Sensitive portrayal of a serious subject, the dropping of the first atomic bomb.

19 December 1999

This film tells the story of the dropping of the first atomic bomb. Pilot Tibbets is played by Robert Taylor and Eleanor Parker portrays his wife. The rest of the cast includes a bunch familiar faces, but the performances are standard. Taylor does a particularly good job as the officer tormented by the morality of his task and the disintegration of his marriage.

This film has some good moments. One of them is uncharacteristically humorous. The colonel comes home one afternoon to hear sounds from the kitchen. His wife tells him that she has found someone to fix the plumbing. "Who?", enquires Taylor. "One of the sanitary engineers", she says, referring to the men in white coats she pointed out to her husband upon their arrival. The plumber turns out to be one of the scientists with the Manhattan Project. "He is very nice," she says, "but he's very smart."

Another powerful moment is when the "Enola Gay" drops the bomb on Hiroshima. There is one word of dialogue in this scene. Taylor looks at the mushroom cloud and says "God." The enormity of this moment does not need words, and the film delivers.

The film makes a sincere effort to deal with the morality of the bomb. In one scene the general questions Tibbets' feelings about his mission. If I wasn't concerned about what I'm about to do he says I wouldn't be much of a man. After dropping the bomb, he angrily responds to a reporter's question about how he feels about killing 80,000 people by saying "How do your reader's feel?" When his wife hears what he has done she retreats to her room in silence, ignoring the eager reporters.

I found the scene in which Tibbets is selected for his mission to be problematic. It is hard to buy in to the premise that an officer would be rewarded for insubordination by a top-secret assignment.

This film was a bit too long, but it is well worth watching. It may not be fun to watch the story of the atom bomb, but it is a story that deserved to be told. The movie does a credible job with it and should be recognized for that.

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Kentucky Rifle (1955)

2/10

Awful Western that gets bad marks in every category.

18 December 1999

This is an awful western. The plot reminds me of "The Last Wagon", but it is far from having the polish of that film. The cast includes Cathy Downs and veteran character actor Chill Wills and is largely wasted. Chill Wills' performance is particularly annoying. He spends much of his time spewing almost unintelligible praise for the Kentucky rifle. While the Kentucky rifle was surely a fine weapon, it is not exactly the gun that won the West.

The premise for this film is dumb. A wagon loaded with Kentucky rifles belonging to star Lance Fuller breaks down. The Comanches want the rifles. The Indians offer a deal. The guns for their lives. Surprisingly, those in the wagon are willing to make a deal. The Indians waste no time betraying the foolish Whites, but they don't get the rifles. After a battle in which many of the Indians are killed by the sure firing Kentucky rifles the Indians promise to allow the wagons to proceed in safety. This time they keep their promise.

Technically, this film has serious problems. Much of it was filmed indoors, and the sets have a cheap look to them. The artificial rocks have a particularly phony look about them. The lighting is confused. Daytime scenes turn to shadows without warning. This aspect of the film reminds me of "Plan Nine from Outer Space".

I rented this film twice. I wanted to see if it was as awful as I remembered it from the first time. It was.

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Au-delà du Missouri (1951)

6/10

Respectable effort to portray the life of the mountain man in the opening of the West.

18 December 1999

This film does a good job of portraying the story of the mountain men who trapped beaver in the Rocky Mountains and played a significant role in winning the West. Clark Gable is the star of this film. He plays a trapper who falls in love with a Blackfoot maiden (Maria Elena Marquez). He buys her from a Nez Perce chief hoping to use her to get into the good graces of her grandfather, a Blackfoot leader. Ultimately, he falls in love with her.

The romance between Gable and Marquez is the real story of this film. It is much more believable than the relationship between James Stewart and Debra Paget in "Broken Arrow". In the first place, the two of them can't talk to each other. Gable needs an interpreter to talk to his wife. The relationship compares to the forced marriage between Robert Redford and a Flathead girl in "Jeremiah Johnson". Gable's affection for his Blackfoot wife is obvious throughout the film.

The film paints a much kinder picture of Native American life than many Westerns. Like Dewey Martin's character in "The Big Sky" Gable returns in the end to the Blackfeet. He has learned to value Indian life and wants to raise his son with her mother's people.

The film portrays the real life capture of fur trapper John Colter by the Blackfeet. Captured by a young chief named Iron Shirt Gable must run for his life. The film should have taken more time with this exciting scene. It is far too short and not nearly as exciting as it should have been. I enjoyed Henry Fonda's run for his life in "Drums Along the Mohawk", but it was very poorly done here. Colter's successful escape from his Blackfeet captors deserves a better rendering.

This film is worth watching for the beautiful high mountain scenery and the romance between Gable and Marques. The soundtrack is not particularly original, giving us constant variation on the old standard "Shenandoah", but it is pleasant listening. Enjoy it.

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Les sacrifiés (1945)

8/10

Memorable, slow-paced World War II film with fine performances from Robert Montgomery, John Wayne and Donna Reed with excellent direction by John Ford.

15 December 1999

This is a memorable war film. Unlike other war films which depict glamorous battles, brutal campaigns and heroic exploits, this film focuses on average sailors who are merely doing a job. This often touching story is sandwiched around the real life escape of General and Mrs. McArthur from Corregidor at the beginning of World War II. The film does a good job portraying the collapse of American and Fillipino resistance in late 1941 and early 1942. The war is going badly, and this film does not try to sugar coat it. General Martin's character (played by Jack Holt) articulates this well at the end of the film. "The end is near here", he says.

John Wayne plays Rusty, a somewhat disgruntled officer who is unhappy about serving on a patrol torpedo (PT) boat. "Plywood dreams", he calls them in one scene. The fortunes of war intervene and Rusty and his comrades must fight the invading Japanese. Wayne's performance is memorable here, because it is uncharacteristic of his work. Wayne is not the macho heroic fighter that we see in most of his other war films. Here he is a professional sailor doing his job the best he knows how. At the end he predictably tries to be a hero, but star Robert Montgomery polites reminds him that there are other priorities. "Who are you fighting for", he asks. Wayne's character has depth. Uncharacteristically for Wayne he is even a little unsure of himself at times. This is particularly evident in his relationship with the young nurse played by Donna Reed. This is a different Wayne.

Robert Montgomery's performance as the commander of the squadron is also first rate. Like Wayne he is a professional who wants to do his job. The burden of command falls on him as he begs, cajoles and even blackmails fellow sailors to put his PT's in the war. Montgomery's performance is understated, credible and moving. It may be his best work.

This film is a collection of images. The destruction at Subic Bay in a Japanese air strike comes the closest to graphic violence of any scene in the movie. Instead of bodies, we see fires, smoke, debris and the faces of dazed servicemen and civilians. In another scene Wayne and Montgomery stand on a long dock stretching out into an empty inlet. "Are you looking for the Arizona, too," Rusty asks. The scenes depicting the escape of the McArthur's are well staged and realistic. The scenes of the defeated American army retreating on Mindanao show graphically that the war is not going well. The last image in the film with the last American plane to leave the Phillipines flying over a tropical beach at sunset is one of the most memorable in any war film. The words "I shall return" which appear on the screen are trite and unnecessary. Director John Ford has created a collage of memorable images here.

This film is slow paced for a war film, but it works. There is sufficient action, but there are interludes of peace and tranquility. There is a candlelight dinner for Rusty and his girl. There are a few moments near the end in a bar. In another scene Wayne visits with an elderly shipwright. The journey with the McArthurs provides another appropriate interlude in the middle of the film. There are even light moments interspersed. In one of these Marshal Thompson is inspecting the galley and asks derisively "What kind of soup is this?" When told it's not soup but dishwater he goes quickly to his next stop.

This is a simple story of fighting men doing a job that isn't considered particularly important. John Ford's excellent direction turns these mundane moments into one of the most memorable war films ever. Star Robert Montgomery even had a chance to direct in this film when Ford was injured in a fall. I liked this film and would recommend it without reservations.

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Le dernier cheyenne (1955)

7/10

This flawed Western nevertheless deserves credit for its sympathetic and largely non-violent portrayal of the Native American experience.

12 December 1999

This is a precedent setting Western which suffers from an average script, poor casting and botched editing. There are many similarities between this film and "Broken Arrow". These similarities begin with the sympathetic portrayal of Native Americans. Debra Paget is also on hand to once more play her role as an Indian woman in love with a White man. The main problem here is that Robert Wagner is not Jimmy Stewart. Delmer Daves had a role in both films, but unfortunately he was limited in "White Feather" to co-writing the script. Robert Webb directed this film.

This film seems to be the victim of poor editing. The Ann character played by Virginia Leith is potentially one of the most interesting in the film. There is more than a hint at the beginning that she has a dark secret. "Did my father tell you about me", she asks Josh Tanner (Wagner). Her father (played by Emile Meyer) later elaborates that "she is unfit merchandise". Unfortunately, this aspect of the plot is not developed. Jeffrey Hunter steals the show with his sympathetic and sensitive portrayal of Little Dog, a Cheyenne leader. He and Tanner become friends, and their friendship is one of the memorable elements in this film. Little Dog is proud to be a Cheyenne. He is torn between loyalty to his father, Chief Broken Hand (played by Eduard Franz), and his warrior code. In the end it becomes a choice between giving up his heritage to walk the White Man's road and dying well. The choice isn't as obvious as it seems. Little Dog's friend American Horse (played by Hugh O'Brian) has the opportunity to make the same choice and blows it.

This film's portrayal of the Native American tragedy is both sympathetic and different. Tanner tells the Colonel (played by John Lund) at the beginning that he has no feeling about Indians. He is indifferent. Ann makes her sympathies clear at the start. "I feel sorry for them," she says and she and Tanner watch the tribes as they prepare to sign a treaty giving up their lands. Ultimately, Tanner's friendship with Little Dog gives him a new perspective. Unlike "Devil's Doorway", another film which works hard to present the Native American view of the winning of the West, this film's ending is more upbeat. I still haven't been able to force myself to watch all of "Devil's Doorway".

Although marriages between Whites and Indians were not unusual in the real West, they had a difficult time surviving in the morality of films of the 40's and 50's. This film is one of the first in which a White character marries an Indian girl. Most Westerns of the time did not permit such relationships to become permanent. Paget's character in "Broken Arrow" is tragically killed. Similar violent endings terminate relationships in "Drum Beat", "Rock Island Line" and "Across the Wide Missouri". In "The Far Horizons" the Native American character ends the relationship by returning to her people so that one of the lead characters can marry a White woman. Dewey Martin's character in "The Big Sky" marries an Indian woman, but he has to make a choice. Will he return to the settlements where there is no place for her or will he live with the Blackfeet? Ultimately, he chooses Indian life. If the film's script had included part two of Guthrie's novel, we would see that this relationship was ultimately the victim of tragedy as well. Tanner's decision in this film to marry the Indian woman and live in the White world is truly unusual for films of the time.

It is the friendship between Tanner and Little Dog which makes the film worth watching. Wagner plays his relationship with Hunter's Little Dog with a lot more feeling and credibility than he does his romantic interest in Paget's character. Hunter's performance is a gem. Unlike Native American roles in so many other Westerns Hunter doesn't offer us the inane dialogue and dopey hand movements which we see too often in such roles. Although Tanner and Little Dog come from different worlds, their shared humanity is refreshingly realistic. It is ironic that their friendship becomes the catalyst for peace. Little Dog as a warrior is opposed to peace. "The treaty pen does not fit my hand", he jokes to Tanner.

Despite its flaws, this film is worth watching for its creative story and its sympathetic and credible portrayal of the Native American experience. The emphasis on story over action is unusual for such a Western and with a little better script it would have worked. Even so, it works well enough for me. I have watched it many times and will continue to do so.

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Les Bravados (1958)

7/10

This serious adult Western focuses on one man's fanatical pursuit of vengeance and played to near-perfection by Gregory Peck.

10 December 1999

Gregory Peck is the show in "The Bravados". His performance reminds me of John Wayne in "The Searchers". In both cases the eyes tell the story. Wayne's were full of hate for the Comanches that defiled his niece. Peck's intense eyes are equally important to this film. In the words of one character, Peck has the "eyes of the hunter".

Like Wayne in "The Searchers" Peck is a man with a quest. Jim Douglas is out for revenge against the murderers of his wife. This single-minded mission brings him to the town of Santa Rita, where the four men he has been chasing are scheduled to hang for another killing. The men escape with a hostage and the chase resumes. Nothing will stop Douglas this time. In his mind the four men deserve no pity and they get none. The law failed to hang them, and now it's his turn.

The casting in this film is interesting. The four low lifes pursued by Peck include three pretty good actors, Stephen Boyd, Henry Silva and Lee Van Cleef. Of the three, Henry Silva's character is the most interesting. He plays Lujan, an Indian. Lujan and Peck share something. They lock eyes at the beginning when Peck visits the four men in jail. It is he who sees the eyes of the hunter. He may not know why Peck hunts them, but he recognizes him as a hunter.

Ultimately, Peck becomes a hero to the citizens of Santa Rita, but heroism comes with a price. In this case Peck sacrifices his humanity. In their end there is potential salvation for Peck from a surprising source.

Except for Lujan, the film provides little reason to sympathize with the four badmen. They have been sentenced to be hanged for a murder in Santa Rita. Steven Boyd ruthlessly shoots an old prospector. Later, he rapes their hostage. Even Joan Collins' character who earlier in the film has urged Peck to give up his relentless quest now urges him to track the surviving killers down and kill them.

There is no question about the morality in this film. There is something incomplete in Peck's character. He is empty inside, because the chase seems to be over. The law has apparently done his job for him. He has little to say to anyone when he arrives in Santa Rita, including his old friend Josefa (Collins). His eyes are full of hate, but otherwise he is hardly alive. He tells Josefa that he loved his wife. "I still do," he says. He has left his little girl behind to chase the killers. Near the end when he sees the little girl she hides behind her nanny. She hardly knows her father. The jail break and the ensuing chase seem to temporarily energize him. He becomes the leader of the possee. Ultimately, he rides off alone to extract his revenge. The energy is misleading. Peck knows what he must do and he does it without emotion. He has sacrificed his humanity at the altar of revenge.

This film is not for everyone. It is a bit intense, and Peck's character isn't very warm and fuzzy. "The Bravados" is a humorless film about a serious subject. Revenge isn't pretty and the price is too high. Peck really delivers with a great performance and the plot is definitely creative. The often told story of the man seeking revenge has seldom been told so well.

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Les Deux Cavaliers (1961)

7/10

Leisurely John Ford Western doesn't have much action, but the pleasant story makes up for it.

5 December 1999

This is not your typical John Ford Western. The usual cast of Ford characters is on hand. Henry Brandon reprises his role as the Comanche chief Scar, which he played so well in the "Searchers". This time he plays a more sympathetic role as the real life Comanche chief Quanah Parker. The evil Clegg clan from "Wagonmaster" is also on hand. They are not quite as evil this time around. The Comanches are played by the usual Navajos recruited for countless Ford Westerns. The awesome arid scenery of Monument Valley has been appropriately replaced by rolling grass covered plains country.

The two protagonists in the film are played by James Stewart and Richard Widmark. Stewart plays a gunfighter serving as sheriff of the Texas town of Tascosa. Widmark is the cavalry officer who summons him to Fort Grant to rescue Comanche captives. They ride together on this mission, which is relegated to a small part in the plot. Although they are friends, their partnership is uneasy from the start. Stewart is going on the mission for money. Widmark is ordered by the colonel (played by John McIntyre) to go. The tension between the two leads at one point to Stewart drawing, but not firing, his gun.

This film contains elements of "The Searchers". Like the other film the theme is captivity by the Indians. Just as in "The Searchers" captivity is viewed as degrading. Linda Cristal plays the captive in this film. "I am not worth fighting for", she says. Ford goes one step further here. Captivity by the Indians is depicted as extremely arduous. The protagonists find few living captives to rescue. The captives they do find are shown as prematurely old and savage. Cristal is an exception. Although she has been a wife to the Comanche chief Stone Calf for five years, she retains something of her aristocratic Mexican upbringing. Perhaps her strong Catholic faith enabled her to avoid the complete degradation typical of captives. Like Debbie in "The Searchers", she has the prospect for redemption. In "The Searchers" it is the strength of the family which provides redemption. Here it is a stagecoach to a new life in California.

The pace in this film differs from many Ford films. There is only one action scene. Much of the film is spent in quiet moments. In the opening scene McCabe (Stewart) is relaxing on the porch of the saloon. It is obvious that he has his law enforcement duties well in hand. In another scene he and Lieutenant Gary (Widmark) are resting on the banks of a river. There is also a significant interlude as the wagon train camps at Oak Creek. There is also a dance at the fort. At the end of the film McCabe returns to Tascosa to find someone else relaxing in his place.

McCabe is an interesting character. His ethics are questionable. He owns 10% of everything in Tascosa, he says. He'll do almost anything for money. He makes it clear to the colonel that he figures that each captive he brings back is worth $500. He then makes a deal with Henry J. Wringle (played by Willis Bouchey) to bring back a boy, any boy, for $1000. Wringle wants to get on with his business and can't afford to waste more time looking for his wife's son. McCabe is more than happy to oblige him, bringing back a boy whose savagery is unquestioned.

In the end there is redemption for both Stewart and Cristal. Both of their characters are interesting and well acted. It is a pity that so many other characters in this movie are wasted. Woody Strode's part as Stone Calf is particularly disappointing. The script gives him very little to say and do. He is around only long enough to go against Stewart in the film's only action sequence. Andy Devine provides much of the film's humor, but is not really credible as what McCabe calls "that hippopotamus of a sergeant".

I wish the film had spent more time focusing on Stewart and Widmark's mission to the Comanche camp as the film's title suggests. Unfortunately, it's only a footnote. Despite the flaws, the leisurely pace and Stewart's portrayal of the amoral McCabe make this film a treat.

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Les professionnels (1966)

8/10

Exciting Western film with an excellent script, veteran cast and plenty of action.

4 December 1999

Warning: Spoilers

Although there's plenty of action in this Western, I believe that the action plays second fiddle to the script. Lee Marvin, Burt Lancaster, Wood Strode and Robert Ryan are first rate as the four professionals engaged on a mission which is not all it seems. They are hired by rich mining man J. W. Grant (played by Ralph Bellamy) to bring back his kidnapped wife (played by Claudia Cardinale). She has been captured by Jesus Raza (played by Jack Palance). "Jesus. . .what a name for the bloodiest butcher in Mexico", says one of the characters.

The dialogue between the characters is crisp and often funny. In one situation where Lancaster has been hung upside down in his underwear by Raza's men, Marvin asks him why he keeps losing his pants. Occasionally the dialogue turns serious. Robert Ryan is shivering in the cold desert night and asks who can live in such a "hellhole". Marvin replies that you have to be as tough as steel. "Like you and Dalworth," Ryan replies. "No, men like Raza."

The professionals have a mission, but they respect their adversary. Perhaps they even like him. When they retrieve the wife, Marvin prevents Lancaster from killing Raza. Later, when Lancaster pins Raza down in a narrow canyon they visit about old times.

The movie was filmed in Death Valley and in the Valley of Fire State Park in Nevada. The colorful rocks and barren desert scenery are used to good effect in the film.

Although the plot is simple, the professionals' mission is not what it seems. They feel they've been set up at the very beginning when Woody Strode, a master tracker, finds the tracks of 10 horses who have been circling. They have obviously been waiting for them. This is only the beginning of the twists and turns in this movie. The film's imaginative plot is delightfully refreshing.

The professionals have a code. Sure, they can be bought. For $10,000 these men will risk the desert, bullets and other dangers. However, they won't go to any lengths to complete their mission. The code first manifests itself when Marvin prevents Lancaster from killing Raza. Later, Lancaster finds out "how a woman can be worth a hundred thousand dollars."

This film doesn't really have a serious weakness. The mix between action, humor and outstanding scenic backdrops makes this a much better than average Western. "The Professionals" is extremely fun to watch and the movie finishes with one of the best comic lines I've ever heard in movies. You won't forget it.

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Amber Waves (1980 TV Movie)

10/10

Excellent TV movie which can be viewed on several levels.

30 November 1999

Despite its simple plot, this television movie can be viewed on several levels. This story of a stranded model who reluctantly takes a temporary job on a wheat harvesting crew is about the values we cherish. Kurt Russell as the model and Dennis Weaver as the cancer-stricken harvester who needs help on his crew lend real credibility to their roles. In less than two hours the script tells us the meaning of life and death and what love is and what it isn't. This film tells us about the self-renewal which can come from hard work and responsibility.

Kurt Russell plays Larry, a male model who is stranded in a small Kansas town when he screws up a photo shoot. He literally runs into Dennis Weaver, who is looking for a warm body for his harvesting crew. He isn't too particular or he wouldn't hire this man who has never done a honest days work and has the hands to show it. Despite some rough moments Russell learns the value of hard work and becomes a leader on the crew.

Several subplots are cleverly weaved into the delightful mix. Dennis Weaver finds that he has cancer and is advised by his doctor to "bail out". This is easier said than done, because he has obligations to farmers whose wheat must be cut. He reaches out to his son, who fled to Canada because of his objection to the war. It is obvious that there is still tension between the two of them and the son returns to Canada. There is a competing harvester (played by Wilford Brimley) whose son went to Viet Nam and was maimed. Mare Winningham plays Weaver's daughter, a girl who is looking for a ticket to a new life. In the end Larry offers the only hope for another harvest.

The focus of this film is the relationship between Russell and Weaver. Despite the difference in their backgrounds, they have much in common. They meet on a day which has not been kind to either of them. Russell has lost his job and Weaver has discovered his cancer. "It's been that kind of day", he tells Russell. Uneasy and volatile at first, the relationship develops into one of affection and even love.

Filmed in Canada there is much more emphasis on scenery than usual in this television movie. "Do you ever get tired of this?", Russell asks Weaver as he gazes across the wheat fields framed in the setting sun. I don't know about him, but I never did.

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Du sang dans le désert (1957)

8/10

Well scripted Western with great characterizations by Henry Fonda and Anthony Perkins.

28 November 1999

The "Tin Star" includes elements from "High Noon". The black and white photography and the town have the same look as the 1953 Academy Award winner. There is also an emphasis on the script rather than the non-stop action that the genre so often offers. In both films the marshal must stand alone at the end against the bad guys.

Although there are many similarities, the script and plot here are quite different. Henry Fonda plays a bounty hunter and Anthony Perkins plays the acting sheriff who'd like the job permanently. The two of them become an unlikely team as bounty hunter Morgan Hickman waits on his reward for bringing in a killer. Hickman is more than a little cynical. He was once a sheriff, but gave it up to pursue criminals in his own way. He gets little respect from the townspeople. "Our officers of the law bring their prisoners in alive", says the mayor. "Your officer of the law never brought in Jamison at all", Hickman replies.

Perkins as the Marshal is more than a little green. When he drops his gun while twirling it in the opening sequence it is apparent he needs to work on his skills. He quickly realizes he needs help when the local bad guy Bart Bogardus (played by Neville Brand) is released with a mere fine after killing an Indian. "He had witnesses", he tells Hickman. He asks for Hickman's help in learning how to be a sheriff. Ultimately, both of them realize that the sheriff will have to confront Bogardus.

The film follows Fonda and Perkins as the latter learns what he must do. "Learn how to study men", Fonda tells him in one scene. In another he chides him for shooting too quickly. "I'd be dead if I didn't", Perkins demurs. "Be quick up here", Fonda replies pointing at his head, "but take that extra split second." The sheriff's problem, he says, is that he lacks confidence.

As it turns out, there is much for both of them to learn. Perkins gains confidence and is able to stand up to Bogardus and a lynch mob. Fonda appreciates once again the rewards of being a sheriff.

This is a serious film. The script has little or no humor. There is an undercurrent of racism here. When Bogardus shoots the Indian outside the saloon he tells Perkins that "no White Man is going to arrest me for shooting a mangy Indian". As a bounty hunter Fonda is not welcome in town. He can't even stable his horse in town. The only place he can find to stay is in a house at the edge of town. Nona Mayfield (played by Betsy Palmer) has been banished to this house, because she married an Indian. She is widowed now and living there with her young son, who takes a liking to Fonda. The feeling is mutual, but there are some tense moments initially when Nona Mayfield accuses Fonda of being a bigot. He isn't and quickly proves it to her.

The direction by Anthony Mann is first rate. I liked the attention to little details. There is a window in the sheriff's office that showcases the normal life of the town. In one scene a man nonchalantly pushes a wagon wheel down the street as the scene in the sheriff's office unfolds. Located just outside the window is a conspicuous hanging tree.

This is a thoroughly enjoyable film with sturdy performances by Fonda and Perkins. The film spawned a television program entitled "The Deputy", which featured Fonda as a United States Marshal and Perkins as his deputy. Enjoy it.

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Les Lys des champs (1963)

9/10

Charming little film with Sidney Poitier as an itinerant handyman in rural Arizona.

26 November 1999

This charming, black and white film testifies to the power of faith. Five nuns who escaped over the Wall from East Germany are trying to start a new life in rural Arizona. Mother Superior (played by Lilia Skala) believes that Homer Smith (played by Sidney Poitier) has been sent by God to build a chapel. Smith demurs. He is a Baptist who isn't really religious. He would rather eat a big breakfast at Juan's (played by Stanley Adams) cafe than go to church behind the makeshift altar on Father Murphy's (played by Dan Frazer) pickup truck. The father describes religion graphically for Smith. "Welcome to the Poor Man's Vatican", he says as he ushers Smith into his small trailer home. "You take confession, provide absolution, bless the babies, hook up the trailer, kick the tires and pray. . .pray that the old car holds together to the next stop".

Faith permeates this film and it is catching. Mother Superior shows her faith in Smith as she introduces him to Mr. Ashton, a big local contractor. Ashton was played by Director Ralph Nelson and is one of the more engaging characters in the film. Interestingly, it is Ashton's skepticism about Smith's ability to the job that persuades Smith to stay. Mother Superior's faith ultimately is transmitted to the local Hispanic community and even Mr. Ashton. Cafe owner Juan puts the issue very much in perspective when he says that his work on the chapel is about "insurance". He doesn't really believe in God, he says, but just in case there is a hereafter he wants to be prepared.

The characterizations in this film are wonderful and deep. There is a strain of stubbornness in both Mother Superior and Homer Smith. It is a miracle they are able to work together. Indeed, Smith leaves the unfinished chapel behind for several weeks at one point. "Why don't you say thank you to me", he asks the Mother Superior. "You couldn't help yourself", she says.

Homer Smith isn't quite sure of himself. He is very uncomfortable in the role that Mother Superior sees for him. Later, when he returns to work on the chapel he stubbornly refuses the help of the locals. He sees himself as the one chosen to build the chapel. Mother Superior chides him as does Juan. "Where would you like us to bury you?", he asks. Ultimately, the locals take over the project with disastrous results. Homer steps in and directs the work to its completion.

Homer's disappearance in the middle of the film is a mystery. He has a problem with being the chosen one and drives away in his station wagon. When he returns the door on the passenger side is now wired shut. He is also dressed in an obviously loud Hawaiian shirt. His unusual dress is topped off by dark glasses. It is like he has returned from a two-week drunk. When he goes to have his big breakfast in the cafe, he wants very little to eat.

Juan is one of my favorite characters in this film. I liked Juan's homespun philosophy. The scene in which Homer eats the big breakfast at the beginning of the film is very good. The two characters are very much alike. Both came from religious families, but neither are religious. Ultimately, they are both empowered by faith.

Like Juan, Mr. Ashton is also a businessman. He too is enriched by the building of the chapel. He delivers a load of bricks for the chapel. When the Mother Superior calls out to him, he remarks that he should have sent them anonymously. On the way out he complains to Homer Smith that she won't let him alone now. Such is the price of faith.

Although it doesn't really go anywhere, this film has the look and feel of a road movie. The film begins with Homer Smith's car on a lonely road. Also, there are the images of the nuns trekking down the miles of empty gravel road to Sunday morning services. Father Murphy uses the road to go from one "country club" to another on his circuit. The blessing of the chapel is that it will be a focal point for the community. Father Murphy's church won't be on the road any longer. But Homer Smith must go. Mr. Ashton offers him a good job as a foreman, but he declines. He is a modern day tumbleweed going where the wind blows or, more accurately, where the road goes.

There is a racial edge to this film. Smith is black, and the nuns are white. Juan and the members of the community are Hispanic. Father Murphy is white. Ultimately, all of these people come together to build the chapel. One point in the film where race becomes overt is when Homer Smith meets Mr. Ashton. "Hey boy", he says to Smith. Smith quickly turns the tables on Ashton and calls him "boy". That seems to bridge the divide between them. In the end it is Ashton who offers Smith a position of foreman. In another scene Smith compares Mother Superior to Hitler. Later, Mother Superior returns the compliment. Ultimately, both are able to go beyond their stubbornness and work together.

This movie captures for me the special spirit of rural communities. I never grow tired of watching it.

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La grande caravane (1954)

7/10

Slow but colorful and entertaining Western with emphasis on lavish sets and costumes.

21 November 1999

I like this movie. The slow pace is an asset rather than a liability. Although the cast is not particularly well-known, there is a delightful mix of characters in this better-than-usual Western. The movie is rather faithfully based on Gwen Bristow's romantic novel about early California.

The interior sets are the real stars of this film. From 1845 New Orleans to pre-Mexican War Santa Fe and Los Angeles the sets are very colorful and lavish. Joan Leslie, Vera Ralston and the rest of the cast work hard to brighten up the sets.

There is an aura of pleasant reality about this film. The characters generally are dressed in period clothing and carry vintage weapons. There is a refreshing variety in the clothing worn by the male characters, particularly in the hats. The wardrobes of Leslie and Ralston are as lavish as the sets. The only disappointment is the standard backlot Western town set which pretends to be Los Angeles. This set has appeared in countless Westerns and it looks oddly inappropriate here.

Much of this film occurs indoors. There is also little action. However, the great sets and script more than compensate. The acting is generally very good and the cast does a wonderful job with the characterizations. Vera Ralston does justice to her role as Florinda, a woman with an awful memory in her past. Joan Leslie's performance as a woman stranded in California by the untimely death of her husband is also far above standard. Forrest Tucker's role as John Ives is uneven. In some scenes he speaks his lines with a whisper. However, he more than compensates by handling himself well in the film's action scenes. Jack Elam has a bit part as a bad guy. Although he says only three words, he exudes evil in his brief appearance.

Normally, a slow pace is the kiss of death for a Western, but in this case the glacial pace works in its favor. Rather than hoping that something will happen, the viewer may find himself or herself wishing it won't end. This is a film that seems longer than it really is, and I wish it had been a little longer. I'm always sorry to see the end credits.

Victor Young's score is rich and vibrant. Although far from his best work, songs like "Jubilee Trail" are very enjoyable. The music for this film is not as overpowering as the music in Westerns like "The Big Country" and "The Magnificent Seven". In one scene the haunting melody of "Jubilee Trail" is played with strings and is almost inaudible as the mule train crosses the desert toward California. The brief cue which heralds the arrival of the pack train from California in Santa Fe effectively communicates the excitement of the moment. The only really loud song is Vera Ralston's song in the Los Angeles saloon. In this case the loud song is appropriate, because they are celebrating the expected birth of Garnet's (Joan Leslie) baby. As Western scores go this one stands out because it is different.

This film is now available on video and is well worth watching. You might find yourself watching it over and over again as I do.

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Les grands espaces (1958)

Spectacular underrated Western epic with an all star cast.

20 November 1999

Warning: Spoilers

The strength of this movie is its great cast, an excellent script and Jerome Moross' memorable score. Critics bombed it when it was released, but moviegoers loved it. I did, too.

"It's a big country", one of the characters in the movie says. This is obvious in the opening credits as a stagecoach crosses the treeless plain carrying Gregory Peck, who plays Jim McKay, to a meeting with his fiance (played by Carol Baker) in San Rafael. The fist fight with the foreman of Ladder Ranch, played by Charlton Heston, is original in its staging. There have been much better fight scenes. "Pittsburgh" and "North to Alaska" come to mind. This fight scene is memorable because the camera emphasizes the vastness of the country by showing the fight from long range. It works.

The emphasis in this film is on the complex personal relationships between the characters. Peck and Baker are engaged to be married, but their relationship seems doomed from the start. In the opening scenes they are harassed by the Hannassey's, mortal enemies of the Terrell's. Peck and Baker are fundamentally incompatible. He doesn't measure up to her father (played by Charles Bickford), and she is upset that he doesn't ride Old Thunder or accept Steve Leach's challenge. McKay does both, but he does these things on his own terms. He is not a show off. He may be a little unsure of himself, but he does not give up easily. His efforts to ride Old Thunder demonstrate this. He is also modest. "I had a little trouble with a horse", he later tells Julie Maragon in a classic understatement. Pat Terrell is disappointed in her fiance and dumps him. Later, when she tries to make peace, McKay rejects her overtures. "It goes much deeper than that", he tells her, referring to her comment that the estrangement was a simple misunderstanding. In a pique she compares him unfavorably to her father and walks out of his life. McKay's courage shows at the end when he rides into Blanco Canyon to rescue Julie Maragon (played by Jean Simmons). Why did he do it? He did it for love. He loves Julie Maragon.

The relationship between Rufus Hannassey (played by Burl Ives) and Henry Terrell sets the tone for the movie. Terrell is a "gentleman" living in a mansion. The Hannassey clan lives in rough shacks in Blanco Canyon. Rufus is not as uncultured as the Terrell's make him out. Indeed, he appreciates the fine dueling pistols he finds in McKay's saddlebags. "Gentlemen's weapons", he derisively tells his definitely uncouth son (played by Chuck Connors). In one scene Rufus publicly questions Henry Terrell's qualifications as a gentleman. Gentlemen or not the two old men hate each other. The movie never tells you how it started. Perhaps no one remembers. Perhaps it is simple economics. Both the Terrells and the Hannasseys covet the Big Muddy, Julie Maragon's ranch. Water is more than life in the West. In one scene Terrell's cowboys shoot holes in the water tower at Rufus' ranch. Steve Leach questions the ethics of this. "Do you really want this Major?", he asks. "Let the boys have their fun," he replies. Later, Rufus returns the favor by barging uninvited into Terrell's party. It is not unexpected that they kill each other at the end.

The relationship between McKay and Steve Leach begins on a bad note. Leach seems to have a romantic interest in McKay's fiance. He offers a fight, which McKay refuses. Later, when they do fight, the relationship seems to change. "You take a long time to say good by," he tells McKay. "I'm just about finished", McKay replies. It is apparent at the end that Leach respects McKay's courage.

The script is refreshingly original. The familiar dialogue from other Westerns is missing here. "This is a frosty Friday", Rufus says at one point. "Teach your mother to suck eggs", he suggests to his McKay at another point. If anything, there may be too much dialogue in this film. A little more action might have helped.

The action is also different from your typical Western. The big screen approach to the fist fight is a good example. The long-expected gun fight between Steve Leach and Buck Hannassey never happens. Instead Hannassey and McKay face off with dueling pistols. McKay wins, because Hannassey shows his coward's colors. He grabs a six gun from one of the cow hands and tries to kill McKay. It is Rufus who shoots his son.

Jerome Moross' music is fantastic. My favorite cue is "The Welcoming", which underscores the scene in which Buck Hannassey and three ranch hands harass McKay and his fiance. Variations of the musical themes in this film appear in the "Jayhawkers" and "The Proud Rebel". The title tune was recently reprised in "Varsity Blues".

This movie is best watched on the big screen. Unfortunately, I don't believe there is a wide screen version of this film available on video. Hopefully, that omission will soon be corrected. However, the great script and wonderful characterizations can be enjoyed on the small screen, too.

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Le sentier de l'enfer (1951)

5/10

Standard cavalry vs. Indian yarn with better action than usual.

15 November 1999

Why would anyone watch an ordinary Western over and over? The story is hardly original. The tale of the Battle of the Little Big Horn has only been told a hundred times or more. As a matter of fact, the plot is very similar to "Bugles in the Afternoon", a better film about the same subject. The script ranges from average to dumb. The direction is uneven. However, the production has some fine moments.

The fight for their lives by star Edmund O'Brien's cavalry troop at an island in the river is outstanding. The entire scene carries an unusual degree of realism. The fighting is hand to hand as the Indians assault the troops on the island. Rifle shots and war whoops punctuate the frenetic action. You can almost smell the gunsmoke and see the sweat on the soldiers' brows. When O'Brien brings General Custer and the regiment to the rescue there is genuine celebration. In my opinion, this is one of the best action scenes in any Western. I am always sorry to see it end.

Unfortunately, the high standard set by the Battle of Nelson's Island (named after the bit character who dies early in the battle) is not maintained before or after. The movie gives us romance, fist fights, escape from Indians and two more battles, but it's all very familiar. Even the plot is transparent. John Vickers (played by O'Brien) is joins the cavalry to find his fiance's killers. It is obvious before the script mercifully reveals it that Sergeant O'Hara (played by Forrest Tucker) and Quade (played by Dean Jagger) are the culprits. Ultimately, both men redeem themselves, but their redemption is not credible. The romance between Vickers and Molly Quade (played by Polly Bergen) comes off better, but even that's predictable. A good cast is largely wasted.

Why do I like this movie? In addition to the spectacular action at the island, I enjoy Forrest Tucker. It is little wonder that we see him in similar roles in "Bugles in the Afternoon", "Sands of Iwo Jima" and "Flaming Feather". I even liked him in "F Troop". He wears that uniform well.>

The final reason I like this movie is Paul Sawtell's score. Paul Sawtell is hardly the most familiar composer in movie history, but he wrote some great tunes for Westerns. "Warpath" has one of the best cues from any Western musical score. It is used initially in the opening title and is repeated later in the wagon train sequence. When I watch this movie I use my Fast Forward button to get me to the good parts.

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La prisonnière du désert (1956)

10/10

John Wayne's performance stands out in this awesome Western with an emphasis on character.

12 November 1999

John Wayne plays his greatest role as Ethan Edwards, the lead character in this 1956 John Ford Western. Ethan is a complex man. You can see it in his eyes. There is longing, loneliness, hate and love. He is a mysterious character who never quite fits in. He rides back into the life of his brother and his wife at the beginning of the film as a door of a Texas ranch house opens. At the end of the film another door closes as all the main characters enter the house leaving Wayne outside. The closing of the door at the end of the movie is one of the most powerful scenes in any Western movie. Edwards watches the other characters enter the house, touches his wrist with his other hand and turns his back. It is obvious that he is an outsider.

He is an outsider throughout the movie. When he rides up to his brother's ranch house, it is clear that his appearance is a surprise and perhaps an embarassment. The brother (played by Cameron Mitchell) says that Ethan is welcome, but it's not believable. There is something between Ethan and his brother's wife (played by Dorothy Jordan). It is not entirely clear what it is. It might be love. It is probably platonic. The truth is that Edwards' loneliness permeates his being.

When his brother and his wife are killed in a Comanche raid and their young daughter taken we see another side of Edwards. He hates the Comanche or "Comanch" as he calls them. "They aren't human", he says. He and young Martin Pauley (played by Jeffrey Hunter) begin a six-year search for the missing girl. As the search lengthens Edwards' motives become less clear. Does he want to kill her? He draws his gun to do so in one scene, but in the end he picks the girl up and carries her back to her people. I have always had trouble reconciling Ethan's action at the end with his hate of everything touched by the Comanche. At one point where he and Martin are looking at other captives, Martin observes that the captives "don't look White." "They aren't White. . .not anymore, Edwards replies." Perhaps that's why he must turn his back at the end. He may not be able to reconcile his feelings about the girl with his hate for the Comanches who have defiled her.

This movie has much going for it. There is the usual strong cast of characters. Harry Carey, Jr. and his mother are on hand. Ward Bond does good work as a preacher and Texas Ranger. The Sons of the Pioneers are here. Ken Curtis provides some light moments in the film. The fight between Curtis' character and Martin Pauley is one of the film's best moments.

The scenery is awesome, but Ford used Monument Valley so often that it looks oddly out of place in this film. The Indians include familiar, if nameless, faces from other films. The Navajos of Monument Valley played Indians in many Ford movies.

If this film has a fault, it is it's lack of humanity. Edwards believes that the Comanches are less than human, but it is he who fails until the end to show his humanity. There is a powerful scene in the film where he goes crazy shooting buffalo. "They won't feed any empty bellies", he yells as he grabs Martin's gun to continue the slaughter. This is not a normal man. There is something wrong with Ethan Edwards. If we don't understand him by the end of the film, it is perhaps because he doesn't understand himself.

This is a great film which can be watched over and over again. The nuances of Wayne's memorable performance make every viewing a unique experience. There is always something there that you missed before.

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Rio Grande (1950)

8/10

This fine film is one of the finest cavalry epics and is based on historical fact.

28 October 1999

"Rio Grande" was the last of John Ford's cavalry trilogy, which also included "She Wore a Yellow Ribbon" and "Fort Apache". Like the latter, this film was filmed in black and white. All three films were based on short stories by James Warner Bellah.

In this film John Wayne and Maureen O'Hara first played the romantic roles that they played later in films like "The Quiet Man" and "McLintock". There is real chemistry between these two stars. Their relationship is a major thread that weaves the plots and subplots of this film together. Both of their characters have depth. O'Hara is more than her usual fiery Irish self. She is sensitive, sometimes humorous and occasionally aristocratic. She has difficulty hiding her continued affection for her estranged husband Wayne despite the fact that he was responsible for burning the family plantation. Wayne is the tough commanding officer of the remote outpost. His toughness masks a softer side. This shows clearly when he stands outside the hospital window of his son, who has a black eye from a "soldier's fight". At the end of the film he takes a father's pride in his son's courage in battle.

There is more going on in the film than in the usual Western. There are relationships. Wayne is disappointed in his son who flunked at West Point and enlisted in the cavalry as a trooper. His mother wants to buy him out of the cavalry. The son wants to prove himself. All of this contributes to some real human moments in the film. Subplots include Trooper Tyree's sometimes humorous attempts to escape the law and the sometimes unwilling help provided by others. And of course there are the Apaches.

The river is a major theme in the movie. It is a barrier which the cavalry cannot cross in their pursuit of the Apaches. This is demonstrated in the opening credits. The cavalry and Mexican soldiers meet at the river in a scene from later in the movie. When captured chiefs escape across the river Wayne meets a Mexican officer in the middle of the stream. He offers to place himself under Mexican command. The Mexican officer declines, saying he must defend the border "at all costs". Wayne responds, "With three men.. .Your dedication to duty is to be commended. I too have my orders." At the end of the film Wayne risks his career with the complicity of General Sheridan (played by J. Carroll Naish) and crosses the river to rescue the children captured by the Apaches.

The supporting cast does a wonderful job with this film. Many are regular faces in John Ford films. Ben Johnson and Harry Carey, Jr. play friends of Wayne's son (played by Claude Jarman, Jr.). Victor McLaglen plays the role of top Sergeant. He played the same role in all three films in Ford's trilogy. Chill Wills is around and is much better than usual as the doctor who helps Trooper Tyree escape from a Texas sheriff. The Sons of the Pioneers are also on hand to sing songs.

The Victor Young score includes elements which will appear later in the "Quiet Man". Many of the songs are dumb and inappropriate. There are too many Irish ballads that would have been much better used in "The Quiet Man". The few songs by Stan Jones are the best of the lot. At one point in the film the cavalrymen are walking their horses to the lyrics "twenty-four miles on beans and hay".

Photographically this film is less impressive than "She Wore A Yellow Ribbon", but the usual shots of Monument Valley are still impressive. There is an appropriate dark quality to this movie that is missing in the other films in the trilogy, even in "Fort Apache", which was also filmed in black and white. The scene at the deserted church is memorable. The black and white photography accentuates the shadows and the threat of death to the children as the Apaches dance the night away.

This film is based on a historical incident. In 1874 Colonel McKenzie led the 5th Cavalry across the Rio Grande to destroy a Kickapoo village in Mexico. The Kickapoos had been raiding quite successfully in Texas and efforts to punish them had been quite fruitless. This forgotten incident was used by Ford in this film. The Indians now are Apaches, but whoever heard of Kickapoos?

This fine Western is worth seeing for its rich characterizations and fine story. It can be enjoyed on many levels.

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La Grande Évasion (1963)

9/10

Exciting, well-acted prisoner-of-war epic is a treat for movie fans.

24 October 1999

"The Great Escape" stands out as one of the greatest war films. It would be inaccurate to characterize it as a prisoner-of-war film. It doesn't compare to "Stalag 17" in its depiction of barracks life in the prison camps. For one thing, "The Great Escape" was filmed in glorious technicolor with the Alps and forests of Germany as a backdrop. Much of the film occurs outside. "Stalag 17", by contrast, is filmed in gritty black and white with the mud of a German winter in the background. Virtually the entire film occurs indoors. For a realistic portrayal of what life in a German prison camp might have been like watch "Stalag 17".

"The Great Escape" is primarily an action film. The prison camp is merely a launching point for the movie's action, which features a tunnel cave-in, furious chases through picturesque German villages, leaps from a speeding train and a plane crash. Steve McQueen's stunt riding on a bicycle provides some of the greatest moments in any film and is every bit as exciting as the famous car chase in his film "Bullit".

The international cast does a grand job of acting. The characterizations are rich. The viewer cannot help but identify with these characters. The character of "Big X" played by Richard Attenborough is complex. He reminds me of a prize fighter who has had one fight to many. In this case he has been in the ring with the Gestapo, and it shows. Hendley played by James Garner is the scrounger. He is the person the prisoners go to when they need travel documents, a camera or tunnel digging tools. He is a cynic. At the end of the film he asks "Was it worth it?"

There is plenty of suspense in this film. Which ones will escape? You pick your favorites and hope they make it. Some do. Some don't. There is disappointment when Steve McQueen's motorcycle wipes out within a few feet of the Swiss border and freedom. There is a feeling of elation when James Coburn's guide appears and points at the mountains in the distance with the one word line "Espana".

Light moments are few in this film. The Fourth of July celebration complete with prison camp moonshine is an initial success, but disaster intrudes on the fun. The guards find one of the tunnels, and a prisoner is shot while trying to escape.

The film has a very human quality to it. The prisoners have very human faults. The obsession of "Big X" with getting back at the Germans for torturing him is an example. Charles Bronson's character is a genius at building tunnels but is a claustrophobic.

The Germans are not depicted as uniformly evil. The prison camp commandant (played by Hannes Messemer) is a compassionate man. He is quite a contrast to Otto Preminger's commandant in "Stalag 17". Robert Graf's character, "Werner, the Ferret", is a mixed up but generally sincere and kind person. He and Garner share a few moments of friendship in the film. It is Garner who violates the code to lift Werner's wallet to provide the documents that the prisoners need. The Gestapo is portrayed as evil and sadistic. In the film's early moments one of their men threatens "X" that "if you fall into our hands again, you will not be so lucky." Later, he makes good on that threat.

This is a memorable film that works on many levels. Few war films have had such a blend of great acting, beautiful scenery and exciting action. Interestingly, there is little of the graphic violence and blood that accompany most war films. The violence is subtle. When the 50 prisoners are executed at the end of the film only the machine gun and an empty truck are shown. It is all too clear what has happened.

Watch this film and "Stalag 17" as a pair. They provide interesting comparative approaches to the grim realities of prison camp life. Both are unforgettable films.

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