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Category Archives: Henry King

The Bravados

 

Poster

There’s something so deeply satisfying about watching 1950s westerns that I sometimes feel I could dedicate an entire blog to them and still only scratch the surface. Just about every star and director of note managed to produce, at the very least, one quality western during those few short years. While the cinematography ran from monochrome and Academy ratio to technicolor drenched scope, one feature remained constant: maturity of theme.

The Bravados (1958) opens in dramatic fashion with a silhouetted rider driving himself on through the night to the accompaniment of Lionel Newman’s pounding score while the blood red titles flash onto the screen. The rider is revealed to be Jim Douglass (Gregory Peck), a man obsessed enough to ride a hundred miles just to witness the execution of four men he’s never seen before (Stephen Boyd, Henry Silva, Lee Van Cleef and Albert Salmi). Initially there’s no explanation offered for Douglass’ desire to see these men keep their date with the hangman. The only thing that’s clear is that he’s nursing a deep and bitter hatred - perfectly realized in a wordless scene in the jail as Douglass walks along outside the bars and rakes each man in turn with a look of such malice that they flinch as though a lash had been applied. It’s only after the four have escaped, taking the storekeepers daughter hostage, that the reason for Douglass’ personal vendetta is revealed. It transpires that his wife has been raped and murdered and he believes that these men are the ones responsible. What follows is a tale of pursuit, revenge, realization, and finally a kind of sour redemption. The only false note in the picture is the introduction of an unnecessary and less than believable romance between Douglass and a Mexican rancher (a woefully miscast Joan Collins). This really adds nothing whatsoever to the film and actually serves to weaken it – the final ten minutes pack a powerful emotional punch but the last shot takes a good deal of the sting out of it. I think it’s also worth mentioning that I was left wondering if The Bravados had any influence on Sergio Leone. Maybe it’s just me but I couldn’t help but notice parallels with For a Few Dollars More: the taciturn anti-hero, the watch with his dead wife’s photo that Douglass carries and shows to his victims before killing them, the grimy and sadistic villains, and the ride along the deserted street of a Mexican pueblo before a showdown.

A bitter pill - Gregory Peck learns the shocking truth.

Gregory Peck gave a remarkably intense performance in a complex role that’s basically a study of bitterness, obsession and false conviction. His playing of a man who has cast aside his soul in the pursuit of vengeance is pitch perfect. As the story progresses the viewer understands that Douglass has become no better than the criminals he is ruthlessly hunting down, but it’s his own final realization of that fact that raises the movie to a higher class. Peck does a fine job of showing the psychological disintegration of a man who has his illusions stripped away and must henceforth look at himself in a new and disturbing light. Stephen Boyd clearly had a ball portraying the chief badman and slipped from smirking charm to menacing brutishness with ease. I’ve always been a big fan of Boyd and have enjoyed his performances in everything I’ve seen him in. His best work was as the villain and when the big lead parts came along he was a touch unlucky – a poorly written role and no chemistry with Sophia Loren in Fall of the Roman Empire, almost becoming James Bond, and having production delays force him to relinquish the role of Mark Antony to Richard Burton in Cleopatra. I was prepared to write some scathing comments about the wooden acting of Joan Collins in this movie but I can’t seem to work up the enthusiasm – although how anyone ever thought it was a good idea to cast her as a Mexican cattlewoman just beggars belief. Henry King was one of those directors that the studio system seemed to have in abundance, the skilled craftsman who could effortlessly churn out quality pictures in just about every genre. His name is hardly a familiar one today but a glance at his filmography makes for impressive reading and contains far more hits than misses. King’s work on The Bravados is aided immeasurably by Leon Shamroy’s cinematography, which mixes stunning landscape views with moody day for night shooting to great effect.

The Bravados is available on DVD from Fox and their R2 Studio Classics version (I imagine the R1 is broadly similar) is a perfectly fine anamorphic scope transfer with nice colours. There’s not an extra feature in sight (I think the R1 has a trailer) but it is cheap. This is a movie that often gets overlooked and is rarely mentioned, but if you’re a fan of westerns from this era you need to see it. Highly recommended.

 
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Posted by on December 10, 2011 in 1950s, Glenn Ford, Henry King, Stephen Boyd, Westerns

 

Jesse James

Having recently seen The Assassination of Jesse James, and having enjoyed it immensely, it occurred to me to go back and revisit some of the other movies based on the legendary outlaw. Along with William Bonney the name Jesse James has become an integral part of the myth of the west. For both of these men, questions of who and what they were and why they acted as they did have been endlessly explored and no truly satisfactory answers have emerged. But does that really matter? To me it doesn’t since the movies are and were, at heart, an entertainment and storytelling medium. It seems naive in the extreme to seek the whole truth in a dramatic form – if you want the real facts you need to look elsewhere. Henry King’s 1939 version of Jesse James certainly bends the truth more than a little, but that doesn’t mean the film is a poor one.  

This movie opens in the years following the Civil War and portrays Jesse (Tyrone Power) and brother Frank (Henry Fonda) as peace loving farmers in Missouri. That’s the first of many inaccuracies, for the truth is that the brothers had already strayed into lawlessness during the war – Frank riding with Quantrill and Jesse with another group of guerrilla raiders. There is no doubt, right from the beginning, that the true villain here is the railroad and more specifically it’s representatives. The railroad, as in many westerns, is shown to be the product of the greedy and corrupt east. It is the actions of one of the railroad agents (Brian Donlevy) that causes the James bothers to turn their backs on the law. From this point on their fates are mapped out for them and further dissembling on the part of the big businessmen serves only to provide more justification for the brother’s criminal activities.

Would you turn your back on this man? John Carradine & Tyrone Power

The movie is full of some fine set pieces such as the early train robbery with Jesse riding up to the rear, hauling himself aboard, and then proceeding along the roof for the whole length of the locomotive until he reaches the engine. The famous raid on the bank in Northfield could have been given more time but it does contain some great action shots – Jesse and Frank riding their horses through a store window to escape and then following that up with a dive off a cliff into a river below.

Power and Fonda play the brothers as essentially romantic and heroic figures, but the film is not above pointing out the less honorable aspects of Jesse’s character. At one point Randolph Scott’s sympathetic lawman makes it clear that Jesse’s initial justification has been superceded by simple, inexcusable criminality. Another scene, on the eve of the Northfield raid, shows Jesse to be a man on the verge of losing control and only the efforts of his more rational brother haul him back. Scott’s supporting role doesn’t offer much and I get the feeling that it was only included to show that all authority figures are not scheming back-stabbers. The notorious Bob Ford is played by John Carradine as a craven scoundrel with whom the viewer can feel no sympathy whatsoever. As a portrait of cowardly betrayal it’s well done but, as with all the villainous parts, remains one dimensional.  

Fox issued the movie on DVD last year and the presentation is a good deal less than might have been hoped for. Frankly, the print is in poor condition and this is particularly evident for the first half hour or so where the age of the film becomes painfully obvious. Things do improve as it goes on but issues with the colour occasionally arise. The film clearly needs restoration work but, despite it’s shortcomings, I’m still very happy to at least have it in my collection.

 
 
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