Duel in the Sun.

Review #1369: Duel in the Sun.

Cast: 
Jennifer Jones (Pearl Chavez), Joseph Cotten (Jesse McCanles), Gregory Peck (Lewton McCanles), Lionel Barrymore (Senator Jackson McCanles), Lillian Gish (Laura Belle McCanles), Walter Huston (Jubal Crabbe, The Sinkiller), Charles Bickford (Sam Pierce), Harry Carey (Lem Smoot), Charles Dingle (Sheriff Hardy), Herbert Marshall (Scott Chavez), Sidney Blackmer (The "Lover" of Mrs. Chavez), and Butterfly McQueen (Vashti) Directed by King Vidor (#987 - Show People and #1015 - Bardelys the Magnificent)

Review:
Sometimes one can really sense the grip of a producer when it comes to how a film comes out. One such producer in terms of presence is David O. Selznick. He was the son of silent movie producer distributor Lewis J. Selznick, who had established film companies at important locations in film locations: World Film Company in Fort Lee, New Jersey and Selznick Pictures in California. At the age of 24 in 1926, the young Selznick went to Hollywood, finding his way to assistant story editor at MGM, and he moved his way around in the prevailing years from MGM to Paramount to RKO, becoming Head of Production in 1931 before going back to MGM in 1933, complete with a production unit for himself much in the same way Irving Thalberg (ill in health at the time) had. However, he desired to have his own studio for production, so he found a backlot and studio to lease out through RKO. He produced numerous films from 1936 to 1940 (distributed through different studios), such as A Star is Born (1937), Nothing Sacred (1937) and his two crowning achievements in Gone with the Wind (1939) and Rebecca (1940), both winning Best Picture for their respective years. He dissolved the company in 1940, taking some time off from production and loaning out some of his contracted stars and directors to other studios. In 1943 and 1946, he formed Vanguard Films and Selznick Releasing Organization to return to production and distribution, respectively. He attempted hard to try and top the successes of the past he had, with mixed results, later stating that he wasted his life trying to outdo it, and he stopped his independent productions in 1948, going on to co-produce films with other makers, with his last venture being the star-crossed A Farewell to Arms (1957). When it comes to this film, Selznick spared no expense in terms of budget and turbulent production from start to finish. Some films may have an uncredited director when it comes to disagreements with a producer, but this is one that has six un-credited directors: Josef von Sternberg, William Dieterle, William Cameron Menzies, Otto Brower, Sidney Franklin, and Selznick himself, since Vidor and the producer had disagreements that led to him walking out (having three credited cinematographers and four editors helps too). Vidor was a respected filmmaker before and after this film, debuting as a director at the age of 19 in 1913 with short films before moving to features in 1919 before finding a contract with Goldwyn Pictures (later MGM) and eventual success with movies such as The Big Parade (1925) and The Crowd (1928). He directed numerous films over the prevailing decades (slowing down after the 1950s), with his last work being a documentary with The Metaphor (1980), released two years before his death in 1982 at the age of 88. Although he did not win an Academy Award on five nominations in his career, he received an Academy Honorary Award in 1979 to recognize his achievements as an innovator. This was a film based off the novel of the same name by Niven Busch, who had pitched the film to RKO for his wife Teresa Wright to star in, but Wright's pregnancy nixed that idea. One pairing that was thought of prior to production was John Wayne and Hedy Lamarr before Jones (who had risen to quick stardom and had won an Academy Award at the age of 25) was brought in, with Selznick (whose affair with Jones later led to divorce and marriage) was credited for writing the film alongside Oliver H.P. Garrett and Ben Hecht. The film cost over $5 million to make (owing to expensive Technicolor film stock, location shooting and multiple re-shoots) and $2 million to advertise (a hefty sum for the time), with the film receiving a great deal of infamy for its excess in terms of its excess in romantic content, with one derisive joke calling the film "Lust in the Dust", with the film having its troubles with the Hays Code (with one sequence involving a dance by Jones being deleted).

This is definitely the kind of film that is best at being as ridiculous as it wants, a melodrama that fits all the molds of the modern age in how relentless it is in being a soap opera with all the trimmings (despite some dated material involving race) and competent acting to make this a silly treat that exceeds the senses that surely stands out for its decade, completed with a lengthy run-time of 145 minute (at least with the overture, anyway). It certainly isn't a great Western or romance by any means, but one will get some sort of enjoyment at an attempt at making an epic, which one should guess right away from its opening narration from Orson Welles, since I guess having the main character's fate being death really needs to be told to us from the get go, which is odd since the novel apparently ended with the main character living. Jones (who would later marry Selznick in 1949) shines in gritty detail, a woundedly obsessed role that exudes passion in the ways that matter in terms of romance, although it is actually the showdown sequence at the end that is her shining moment, complete with her own stunt work in the rocks with scrapes and cuts. Cotten is quiet yet fairly effective as the most level-headed one of the group, which goes okay despite not having as much screen-time in the second half. Peck is certainly electrifying in his rough role, full of energy like a beast of burden (having arrived from stage to film in 1944 to quick stardom), one that demands your attention as the bad man you love to hate (as is the case in plenty of interesting Westerns). Barrymore shines as an old battle axe, spending most of his time commanding coarse presence without needing to get out of his wheelchair (which he primarily used due to having an unhealed broken hip and arthritis since 1938). Gish (who earned her one and only Academy Award nomination for this film) shines with honesty in a role that demands sincerity. Huston proves worthy to view in his fiery brimstone approach to trying to rid the dangers of sin. If one is desiring of a different kind of Western, one may find something fitting with a weird film like this, where its romantic gestures having a strange lasting power to them. The film, controversy be darned, managed to break just even with audiences, who were probably tempted to see it one way or the other when it came to the furor it could inspire from the powers that be with decency (for the time, at least). One notable person who found this film influential was Martin Scorsese, which he saw when he was four years old. Sure, the film doesn't quite live up to Gone with the Wind, but the undeniable truth is that both films have a lasting appeal to them, with this being one to see in Selznick's power of obsession on display, a bold piece of escapism for better or worse.

Overall, I give it 8 out of 10 stars.