Paroxysm, eh? I don’t know about that but certainly the by now classic Mann/Stewart themes are there (driven man-with-a-mission, tough-guy Stewart, wild terrain and so on) and there are also echoes: Arthur Kennedy pushes Donald Crisp off his horse while riding a ledge just as Robert Ryan did to Stewart in The Naked Spur; Kennedy and Stewart shoot it out on a mountain top as Stephen McNally and Stewart had done in Winchester’73; there are others.
It was the most violent of the Westerns and though tame by today’s post-Peckinpah (or Tarantino...) standards was shockingly so for 1955. But the post-Second World War audience had, many of them, known worse in real life and were ready to accept the realism. And it brought the Westerns into line with Mann’s noir and war films.
Stewart proved his toughness by doing his own stunts, rolling under spooked horses’ hooves in the fist-fight, being dragged through a camp fire. It made the character of Will Lockhart more gutsy and physical than the Stewart heroes in the others.
As I said in my review, the pictures does have its weaknesses, notably in the poor acting of Donald Crisp, Alex Nicol and, sad to say, Arthur Kennedy. Poor acting and poor writing of their parts.
But Laramie remains the high-point and culmination of the Mann/Stewart collaboration.
Of course, Mann made other Westerns without Stewart and Stewart made others without Mann. It must be said that while Mann directed some fine ones (The Tin Star with Henry Fonda in 1957; Man of the West with Gary Cooper in 1958) Stewart did not fare so well afterwards: the pretty forgettable Night Passage in 1957, the Western soap Shenandoah in 1965 and the quite shockingly dreadful The Rare Breed in 1966. Yes, he worked with John Ford but only on later and frankly lower-quality pictures such as the ho-hum Two Rode Together with Widmark, the over-talky and studio-bound black & white Liberty Valance and Cheyenne Autumn, in which he really only did a hammy cameo (as Wyatt Earp). Firecreek wasn't oo bad but it wasn’t till his last Western, when he was 68 and suffering from deafness, that he excelled again, though in a very small part, in the magnificent The Shootist.
Let’s talk briefly about Night Passage because that was to have been another Mann/Stewart collaboration. And indeed, with Aaron Rosenberg producing, Borden Chase writing it, William Daniels at the camera, impressive locations, Dan Duryea as the villain and with Jay C Flippen, Jack Elam and Robert J Wilke all lined up in the cast, it looked to be quite simply the sixth in the series.
Good artwork this time
But it was not to be. Mann did some preproduction work and might even have directed a few of the early scenes but Stewart and Mann seem to have fallen out. The whys and wherefores are not quite clear but apparently Stewart was determined to incorporate some features which Mann felt (as it turned out rightly) were, well, shall we say inappropriate. Mann said later, “The story was so incoherent that I said the audience wouldn’t understand any of it. But Jimmy was very set on that film. He had to play the accordion and do a bunch of stunts that actors adore. He didn’t care about the script whatever and I abandoned the production. The picture was a total failure and Jimmy has always held it against me.”
It was pretty poor, Mann was right there. Stewart plays and sings. He ought not to have. Mann’s replacement James Nielson was an unknown and directed only three feature film Westerns, mostly doing TV work. He really just let Stewart have his head. Unfortunately. Audie Murphy as Stewart’s outlaw kid brother was pretty hopeless, I’m afraid. Duryea chewed the scenery in a totally over-the-top way. There’s a hokey kid for Stewart to impress (Brandon de Wilde, a bit more grown up now than the whiny brat in Shane and not too bad in fact). The women are token, honestly.
It was a mistake, Jimmy
Yes, the movie does have its points. The Colorado scenery is great (and by the way if you can get down into the Centennial State, that Durango/Silverton railway up through the Royal Gorge is quite something, vaut le detour, as the Michelin guide used to say). I also like the stirring Dimitri Tiomkin/Ned Washington score (once you get past Jimmy’s accordion).
Audie. He never quite convinced, did he.
But it bombed at the box office and was panned by the critics. You just get the feeling that if Anthony Mann had directed it, it could have been another in the excellent series. As it was, Night Passage was little more than a star-vehicle B Western.
Same hat, same coat, same rifle. But the magic isn't there
You’d be better off watching the 2005 Night Passage. I really like Selleck in those Jesse Stone movies. Robert B Parker was just such a wonderful writer. How we miss him.
Anyway, there we are. That’s it for our look at the Anthony Mann/James Stewart Westerns. They are right up there in the list of Best Westerns ever and every one is worth a look and a DVD purchase. Make sure you get one of those wide-screen TVs though. You’re going to need it.
Where will the trail lead next? Well, we could look more closely at the other Anthony Mann and James Stewart Westerns. That’d be good. Or I have promised at different times to examine others, promises I need to keep (I remember, for example, saying that I’d review Hombre and I never did). I also have a fancy to talk about the Daltons in the same way that we’ve looked at Billy the Kid and Jesse James. Ah, so much to do, so little time.
I also want to catch this new Tarantino post-spaghetti. I may have to get the old Renault out and brave the icy roads of France. All in the line of duty, you understand.
So long, pards.