Time for some movie reviews. I’ve decided to do this by genre, starting with westerns since I grew up in New Mexico. I’ll start with what I consider to be really great films that happen to be westerns.
When I was pretty young, Lonely are the Brave came out and I saw it on TV. Despite the commercial interruptions, I was profoundly moved by this film. It’s not your traditional western, as it takes place in modern times. The theme is nonconformity and how the forces of society can overwhelm someone who wants to live life his own way when that way conflicts with (and seemingly threatens) what society views as acceptable. Filmed in my hometown and released in 1962, I suppose one reason this film had such an effect on me is because I had been to many of the places shown on the screen (now overwhelmed by the urban sprawl of Albuquerque) and I was lonely though not brave. It presages the coming nonconformity of the hippie generation. Kirk Douglas thought it was his best film – and that’s saying a lot since he’s been in some great ones. The screen writer was Dalton Trumbo, one of the writers blacklisted by the forces of society during the McCarthy era. The film was based on Edward Abbey’s The Brave Cowboy – and of course Abbey was another nonconformist (his Desert Solitaire was a formative book in my college years).
You know you’re in for something different when the opening scene has you thinking “Well, here’s another traditional western – cowboy sleeping on his bed roll on the prairie, gets up, makes a fire, saddles horse; and then a jet flies over! What??? Did the filmmakers not notice (it’s happened before – watch Winterhawk and notice the telephone wires and traffic in the background during a scene that supposedly takes place in the 1860’s)? Nope, it’s deliberate. You watch the cowboy (Douglas) ride into “Duke City” [Albuquerque] and notice his horse shying at traffic (important, though it doesn’t seem so at the time). He reconnects with old friends, gets in trouble and is thrown in jail (the sheriff is Walter Matthau) and rather than pay bail and avoid confrontation, escapes from jail and is chased by the law (Matthau’s character secretly wants the cowboy to escape). The ending is tragic and may have you in tears.
Many film critics think that The Searchers is the best western ever. I mean, what can go wrong – you’ve got John Wayne and John Ford and Monument Valley? Well here’s one “film critic” who really dislikes this movie. I think what turns me off about this is the rampant overacting, except by John Wayne. Everybody else in this movie is busy shouting their lines and gnashing their teeth, and it gets really tiresome. Another bad thing (in my opinion) is the unreality of the film. West Texas looks nothing like Monument Valley (compare this movie to No Country for Old Men), the Comanche don’t speak Navajo, and chicanos in New Mexico did not parade around in sombreros and serapes. So why am I mentioning this movie in a blog about great westerns? It’s a lead-in for what I think is really John Wayne’s greatest western and a great film regardless of genre. That movie is The Shootist.
John Wayne’s last film is really a valedictory for his career: he plays a famous gunfighter suffering from terminal cancer who just wants to find a quiet place to die in peace. Jimmy Stewart plays a doctor who reluctantly helps him deal with the pain, Harry Morgan plays the local sheriff who is glad Wayne is dying and Ron Howard plays a teenager fascinated by guns who wants to emulate people like Wayne. Despite Wayne’s struggles to remain anonymous, his presence becomes widely known and soon relatives of one of his victims arrive for revenge. The showdown plays out in unexpected ways; certainly very interesting in these times when gun violence is so common in our country.
The third western that ranks up there in terms of great films regardless of genre is High Noon. I don’t need to say much about this movie, as it may well be one of the best-known westerns ever made. It certainly is head and shoulders above a movie such as The Searchers. Stanley Kramer produced this movie (it was nominated for Best Picture – one of seven nominations he received for producing) and Kramer is responsible for producing or directing quite a number of amazing films (On the Beach, Inherit the Wind, The Defiant Ones, The Wild One, Judgment at Nuremburg, Guess Who’s Coming to Dinner, among others). During the McCarthy era, this film was viewed by some right-wing zealots as “anti-American” (including John Wayne, who ironically accepted Gary Cooper’s Oscar for this film as Cooper was unable to attend). The screen-writer was Carl Foreman, who was a member of the Communist Party at one time and who was blacklisted by Hollywood because the House Committee on Un-American Activities labeled him an uncooperative witness. Foreman co-wrote the script for The Bridge on the River Kwai but wasn’t listed because of that blacklisting. Unfortunately, Kramer tried to get Foreman removed from High Noon, but people like Gary Cooper (who was a conservative) helped keep Foreman on the film. Well, that’s a lot of stuff that isn’t in the movie; the movie itself is about responsibility, courage, and cowardice. Should Cooper have stayed to protect people who didn’t appreciate him? Truth is, a lot of times people don’t appreciate the help they receive from stronger persons, but those strong folks don’t do it for the sake of appreciation.
I suppose I should review Shane as well, but I haven’t seen that movie for a long time so I’ll put that off until I get a chance to watch it again. Instead, I’ll review Unforgiven. I’ve turned into a Clint Eastwood fan based on the movies he’s directed in his “later years” – and this is no exception. It’s not like any other western I’ve seen, in large part because the “hero” is a complex character who could be a loving father at one time and a completely cold-hearted killer at another. The dirt and brutality comes through on many fronts, as well as the reality of killing another human. It’s certainly not a movie for all tastes, but as westerns go, it has a lot to tell us. Well done, Clint!