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The Man From Laramie
TCM ran the letterbox version of The Man From Laramie this afternoon. I hadn't seen it in years and I'll tell you I was dazzled by it in every respect. If, as John D. MacDonald suggested, most pulp fiction is actually a kind of folk tale, then Laramie is one of the best folk tales ever told.
I've never heard a satisfactory explanation from why Anthony Mann and James Stewart fell out. But what an extraordinary way to say goodbye.
While Stewart is the star this is really ensemble acting. In fact Donald Crisp as the complicated, doomed patriarch is, for me, the most compelling character in the movie.
If I was asked to compare the differences between a genre western (even a great one) and a mainstream western I'd point to this film. Each of the main characters has a history that bears at length on the story. Stewart, as usual in a Mann western, is driven by a hatred that makes him difficult to like at certain time, though the violence visited on him early on still has the ability to shock even in this age of slice and dice movies. A great line early is spoken by an old man to Stewar:t "Hate is unbecoming on some men, Mr. Lockhart. On some men it shows."
For me, Mann is a far better director of westerns than John Ford (though I greatly admire The Searchers and The Man Who Shot Liberty Valance). There is no sentimentality or Cavalry myth here. There a few scenes that would do the Sopranos proud.
Laramie is also one of the most exciting hardboiled stories ever done in the western field. Phillip Yordan's fine script gives us a twist every fifteen minutes or so. And the last twenty minutes consist of three stunning set-pieces of sustained action.
And what a pleasure to see Cathy O'Donnell again. A sad, quiet turn here gives a look at how limited life was for women on the frontier.
Here's a good over view from IMDB:
Author: ironside (robertfrangie@hotmail.com) from Mexico
Some of the best Westerns of the fifties were those directed by Anthony Mann and John Ford, straightforward and unpretentious, but each with an interesting approach to the requirements of the genre... Mann's films were the more prestigious, usually featuring James Stewart who, with John Wayne, was the fifties' biggest box-office draw... "The Man From Laramie" best known because of the Frankie Laine theme strong which accompanied it, is notable for (among other things) Alex Nicol's extraordinary projection of sadism, an element which dominated the best of Mann's movies... The motion picture was to be the last of the Mann-Stewart Westerns...
Stewart is cast as a wagon handler from Laramie, Wyoming, but is, really, an army officer out to avenge the death of his younger brother, a U.S. Cavalryman, massacred by the Apaches who were buying guns from unknown persons... It is these persons that Stewart is looking for..
Soon Stewart gets involved in an area of New Mexico which is ruled by the iron hand of a cattle baron Donald Crisp, a strong authoritarian "who can't live with a lie"... Crisp's one weakness is his love and care for his spoiled son, Alex Nicol...
Wild but feeble, yet vicious, Nicol - with extraordinary projection of sadism - accosts Stewart in several confrontations in which (among other outrages) Stewart is dragged through fire by horses, and has his hand held tight while Alex puts a bullet through it... Mann proceeds in this mood throughout the movie, growing even more sadistic...
Arthur Kennedy, a hard-working heavy, plays the adopted son of Crisp... He is a son in disguise, jealous of Alex, pretending to be his brother's ally and protector...
A lot of good supporting actors are cast including Cathy O'Donnell, the fragile beauty who has little to do but await patiently for an opportunity; Aline MacMahon, the fine 'ugly' woman who never leaves the old man, and Jack Elam who tries to knife James Stewart in the back...
Anthony Mann adopted an altogether tougher approach to Western mythology than John Ford... His obsessive, neurotic characters and his emphasis on violence foretell the work of Peckinpah, Leone and Eastwood...
Filmed in Technicolor, "The Man From Laramie" is a Western with new touches of brutality touching off the wide screen spectacle...
I've never heard a satisfactory explanation from why Anthony Mann and James Stewart fell out. But what an extraordinary way to say goodbye.
While Stewart is the star this is really ensemble acting. In fact Donald Crisp as the complicated, doomed patriarch is, for me, the most compelling character in the movie.
If I was asked to compare the differences between a genre western (even a great one) and a mainstream western I'd point to this film. Each of the main characters has a history that bears at length on the story. Stewart, as usual in a Mann western, is driven by a hatred that makes him difficult to like at certain time, though the violence visited on him early on still has the ability to shock even in this age of slice and dice movies. A great line early is spoken by an old man to Stewar:t "Hate is unbecoming on some men, Mr. Lockhart. On some men it shows."
For me, Mann is a far better director of westerns than John Ford (though I greatly admire The Searchers and The Man Who Shot Liberty Valance). There is no sentimentality or Cavalry myth here. There a few scenes that would do the Sopranos proud.
Laramie is also one of the most exciting hardboiled stories ever done in the western field. Phillip Yordan's fine script gives us a twist every fifteen minutes or so. And the last twenty minutes consist of three stunning set-pieces of sustained action.
And what a pleasure to see Cathy O'Donnell again. A sad, quiet turn here gives a look at how limited life was for women on the frontier.
Here's a good over view from IMDB:
Author: ironside (robertfrangie@hotmail.com) from Mexico
Some of the best Westerns of the fifties were those directed by Anthony Mann and John Ford, straightforward and unpretentious, but each with an interesting approach to the requirements of the genre... Mann's films were the more prestigious, usually featuring James Stewart who, with John Wayne, was the fifties' biggest box-office draw... "The Man From Laramie" best known because of the Frankie Laine theme strong which accompanied it, is notable for (among other things) Alex Nicol's extraordinary projection of sadism, an element which dominated the best of Mann's movies... The motion picture was to be the last of the Mann-Stewart Westerns...
Stewart is cast as a wagon handler from Laramie, Wyoming, but is, really, an army officer out to avenge the death of his younger brother, a U.S. Cavalryman, massacred by the Apaches who were buying guns from unknown persons... It is these persons that Stewart is looking for..
Soon Stewart gets involved in an area of New Mexico which is ruled by the iron hand of a cattle baron Donald Crisp, a strong authoritarian "who can't live with a lie"... Crisp's one weakness is his love and care for his spoiled son, Alex Nicol...
Wild but feeble, yet vicious, Nicol - with extraordinary projection of sadism - accosts Stewart in several confrontations in which (among other outrages) Stewart is dragged through fire by horses, and has his hand held tight while Alex puts a bullet through it... Mann proceeds in this mood throughout the movie, growing even more sadistic...
Arthur Kennedy, a hard-working heavy, plays the adopted son of Crisp... He is a son in disguise, jealous of Alex, pretending to be his brother's ally and protector...
A lot of good supporting actors are cast including Cathy O'Donnell, the fragile beauty who has little to do but await patiently for an opportunity; Aline MacMahon, the fine 'ugly' woman who never leaves the old man, and Jack Elam who tries to knife James Stewart in the back...
Anthony Mann adopted an altogether tougher approach to Western mythology than John Ford... His obsessive, neurotic characters and his emphasis on violence foretell the work of Peckinpah, Leone and Eastwood...
Filmed in Technicolor, "The Man From Laramie" is a Western with new touches of brutality touching off the wide screen spectacle...
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