Best Western

No, this is not a story about some sordid rendezvous at a sleazy motel.  I know you’re disappointed but you’ll have to get your vicarious gratification elsewhere.  This missive is about your favorite topic, movies.

One of my readers suggested I write a post in which I identify the best movie of the Western genre.  Well, truth is I don’t do requests.  But the idea did get me thinking about the subject of the American Western and its cultural significance.  From the earliest days of film making to the end of the 1960s, Westerns ruled the box office.  Even television programming was dominated by Westerns, which in the peak year of 1959 aired 26 examples of the genre in prime time; and there were only three channels offering original programming in those days.

Without doubt, the Western story (real or fictional) gives us some unique insight into the American psyche.  But, as you’re probably bored with all of my psycho-social folderol, we’ll skip that discussion and dive right into that ever-stimulating subject, American History.  How did the West evolve into the most prolific inspiration for the American film industry?  Because, watching a bunch of buckskin clad sharpshooters wrecking havoc from horseback backset by a beautiful desert vista is way more interesting than trying to keep up with the political machinations of a bunch of gentlemen farmers struggling to hammer out the founding documents:  My apologies to Messrs Adams, Jefferson, Franklin, et al.

Speaking of Thomas Jefferson, it was truly his vision that set off American Western expansion with the purchase of the Louisiana Territory from France, culminating in the Manifest Destiny doctrine of James K. Polk (1795-1849). Polk was elected as the 11^th President of the United States (1844) in large part because of his stated ambitions to expand the United States to the Pacific Ocean.  He skillfully maneuvered the United States into a war with Mexico resulting in the acquisition of much of which is now the American Southwest.  He reasoned, perhaps rightly so, that his actions would so alienate the populous that he vowed to serve only one term.  Draw your own moral conclusions, this was the Nineteenth Century and empire building was all the rage.  But if you live west of Omaha, any other outcome would have you speaking Spanish as your native language.

I know what you’re thinking, “When is he gonna stop with the history lesson and talk about movies?  That’s why I’m here!”  Just one more comment about history and then we’ll move on.  The expansion of available land in an era where the government couldn’t possibly control migration led to an explosion of movement westward by persons who were essentially on their own.  It was a make-it-or-break-it proposition and enough hardy individuals succeeded to establish permanency.  It was the hardiness of these individuals that crossed the plains, then the mountains, and then the unforgiving deserts that was the crucible in which was fired the legends that became the grist for the Great American Western.  

And so, on to the movies:  I cannot pick a “best” Western.  Best is quantitative evaluation for which you need some type of data whereby one example of the genre can be objectively compared against others.  And while I’m sure such data exists, e.g. box office receipts, award nominations received, AFI “Greatest” ranking; I’m just too damned lazy to go ferret it out.  Besides, who cares about someone else’s opinions: You’re here to read mine!

So here they are, Dale’s favorite Western Films, in no particular order.

The Searchers (1956-Warner Bros.)  Directed by John Ford and starring John Wayne, this is a tale of the abduction of two young white girls by a Comanche raiding party and the subsequent, epic search over many years to bring them home.  This fictional work is somewhat influenced by the story of Comanche Chief, Quanah Parker.  If you ever get the chance to see this film on the big screen, take it.  The cinematography and filming locations in Monument Valley (Navajo Nation on the Arizona-Utah border) are as important as the story and action.

High Noon (1952-United Artists)  Directed by Fred Zinnemann: Starring Gary Cooper and Grace Kelly.  Marshal Will Kane (Cooper) has just married young Quaker Amy Fowler (Kelly) and is giving up his violent career in deference to his new wife’s pacifist beliefs.  Just before they can leave town a telegram arrives with news that outlaw Frank Miller has been released from prison and is on his way to town on the noon train with intentions of revenge.  In the ensuing time, Kane, feels an obligation to stay until the new marshal arrives.  The twist is, one by one, the pusillanimous townspeople withdraw their support for Kane leaving him to face Miller and his minions on his own. As you watch this movie (and you must, if you wish to get into heaven), see if you can identify the device used to build suspense.

Destry Rides Again (1939-Universal Pictures)  No, don’t go looking for the original, this is not a sequel.  George Marshall (director) uses a magnificent blend of action, suspense and comedy to tell the familiar story of the Western land grab.  What makes this a standout movie are performances of James Stewart (Tom Destry, Jr.), Marlene Dietrich (Frenchy) and bad guy Brian Donlevy (Kent) as this twice told tale unfolds.  Just as valuable to the quality of this production are the supporting performances of Charles Winninger as the banjo strumming Washington Dimsdale and Mischa Auer as the henpecked Boris.  There are no surprises here, just a fun ride down a familiar lane.

Support Your Local Gunfighter (1971-United Arists)  This madcap comedy fused into a western setting is directed by Burt Kennedy.  Lothario/conman Latigo Smith (James Garner) ditches his latest victim disembarking the train at a midnight stop in Purgatory.  What he doesn’t know is that he has stepped into a war between two mining interests.  He is mistaken for the expected notorious gunslinger, Swifty Morgan (Chuck Connors-uncredited) and uses the opportunity to work a con by playing the embattled factions against each other.  The supporting cast is full of familiar characters including Jack Elam, Henry Morgan, Dub Taylor, John Dahner and Joan Blondell.  This is not high drama and the gags outweigh the story ten-to-one.  But you will laugh your ass off.

Tombstone (1993-Buena Vista Pictures)  Is this the way it really happened?  Probably not, but of the myriad films that claim to portray the legend of Wyatt Earp and the events that precipitated the gunfight at the O.K. Corral, this is far and away my favorite.  It is the familiar story of how the Earp Brothers came to be in Tombstone, Arizona on October 26, 1881 and participated in the most famous shootout of the American West.  Wyatt is played by Kurt Russell and his nefarious friend “Doc” Holliday by Val Kilmer.  In my opinion, Kilmer and Michael Biehn (Doc’s nemesis, Johnny Ringo) elevate this movie significantly with their performances.  An unexpected nugget is a chubby Billy Bob Thornton as an obnoxious Faro dealer at the Oriental Saloon.

Along Came Jones (1945-RKO Radio Pictures)  Directed by Stuart Heilser, this movie could be mistaken for a “B” if not for the cast.  Saddle tramps Melody Jones (Gary Cooper) and George Fury (William Demarest) made a wrong choice at a fork in the trail about five hundred miles back and end up in the town of Paineville (pronounced throughout as painfull).  Because his initials “MJ” are stamped into his saddle, locals mistake him for outlaw Monte Jared (Dan Duryea).  When sidekick George stumbles onto the reason why townspeople are treating Melody with such deference, he suggests that they “vamoose outta here real quick” Unfortunately; Melody has been captivated by Cherry de Longpre (Loretta Young) who happens to be the paramour of Monte Jarred.  Cherry sees an opportunity to use Melody as a decoy to convince town folk Monte has left Paineville.  Melody, despite George’s pleading, decides this is an opportunity to make something of himself and win the heart of Cherry by killing Monte.  The problem?  Melody is totally inept in the use of firearms.

She Wore a Yellow Ribbon (1949-RKO Radio Pictures)  Another John Ford (director), John Wayne collaboration; they did twenty-one films together.  John Ford directed three movies starring Wayne referred to as the Cavalry Trilogy.  This is a bit of a misnomer as there is no continuing story thread among the films.  They are only connected by the general subject matter (the Indian Wars of the West) and the shooting location (Monument Valley).  The first (Fort Apache-1948) and third (Rio Grande-1950) were shot in black and white.  They are good if somewhat hackneyed stories; in fact Fort Apache may be the best dramatic effort of the three, with Henry Fonda playing the lead role.  But my favorite of the bunch is She Wore a Yellow Ribbon.  First, it was filmed in Technicolor taking full advantage of the visual beauty of Monument Valley (you must travel there).  Second, and most important, the role of Capt. Nathan Brittles was a change of pace for John Wayne.  Instead of the young, strapping hero we were used to seeing, he played an older, more reflective army officer who was coming to the end of his career. If you are familiar with John Wayne’s work only through the Batjac (John Wayne’s production company) movies of the late 1950s through the 1970s, you will be surprised by the depth of character he delivers in She Wore a Yellow Ribbon. Of course, it has all of the John Ford regulars, including a fun portrayal by Victor McGlaglen as what else, an alcoholic sergeant-major of cavalry.

Cheyenne Social Club (1970-National General Pictures)  This Western farce was directed by (surprise) Gene Kelly.  If you don’t know who Gene Kelly is, well then you might as well be singing in the rain.  It is the story of an aging cowboy who leaves his job in Texas after being informed by letter that his recently deceased brother has left him a business in Cheyenne, Wyoming.  Character John O’Hanlon (James Stewart) is accompanied by his life-long friend Harley Sullivan (Henry Fonda).  Upon arrival, O’Hanlon is embarrassed to learn that his inheritance is a brothel.  He is immediately besieged by opposing factions who either want the house of ill repute closed, or left to operate as is.  Meanwhile, Harley takes up residence and enjoys to full advantage of the perks of being the boss’ best friend. The true treasure of this film is the dialogue between Stewart and Fonda and is a superior example of the confluence of great writing and spectacular delivery.

The Wild Bunch (1969-Warner Brothers) This is the pinnacle of Sam Peckinpah’s (director) work.  It is the story of a band of ageing outlaws struggling to keep up with the changes ushered in by the 20^th century.  The leader, Pike Bishop (William Holden, as gritty as can be) is losing his grip on the gang as the day of the horse bound desperado is coming to a close.  After being out maneuvered by bank detectives and barely surviving a shootout to come away with sacks full of washers, Pike changes directions and enters into a deal with rebel Mexican forces (ala Pancho Via) to steal American military arms.  As the treachery of the Mexican General becomes apparent, the gang must deal with the conflict between profit and loyalty.  If you are unfamiliar with Peckinpah’s work, I would advise you to bring some plastic sheeting to the viewing; there will be blood everywhere.  The cast list reads like a Who’s who of Western movies, pay special attention to Edmond O’Brien as the crusty horse holder, Freddie Sykes.

The Hallelujah Trail (1965-United Artists)  Directed by John Sturges.  Mix in one martinet cavalry colonel (Burt Lancaster), one oversexed temperance marcher (Lee Remick), one whiskey seller (Brian Keith), one lovelorn captain (Jim Hutton), one oracle (Donald Pleasance), striking Irish teamsters and a very thirsty band of Indians; shake vigorously then spill into the America Desert.  This is the recipe for absurdity.  In November 1867, the residents of Denver realize their whiskey supply has reached dangerously low levels and must be replenished before the onset of winter.  They contract with purveyor Frank Willingham (Keith) for a delivery, which is to be escorted through Indian Territory by young Capt. Paul Slater (Hutton).  At the same time, temperance leader Cora Templeton Massingale (Remick) has organized a march to intercept and destroy said whiskey and cajoled Col. Thaddeus Gearhart (Lancaster) to provide protection for her and her league.  Meanwhile, the local Indian band has plans of its own to take possession of the shipment.  Pay particular attention to the performance of Donald Pleasance as Oracle.

There you have it; my ten favorite Westerns.  You may argue that there are better, more relevant examples of the genre.  But if I am going to settle in for an evening of period escapism, this list will do me nicely.  Adios, pahdnah!