The Ox-Bow Incident.

Review #2214: The Ox-Bow Incident.

Cast: 

Henry Fonda (Gil Carter), Dana Andrews (Donald Martin), Harry Morgan (Art Croft), Frank Conroy (Major Tetley), Harry Davenport (Mr. Arthur Davies), Anthony Quinn (Juan Martínez / Francisco Morez, The Mexican), Francis Ford (Alva Hardwicke, The Old Man), William Eythe (Gerald Tetley), Mary Beth Hughes (Rose Mapen / Rose Swanson), and Jane Darwell ("Ma" Jenny Grier) Directed by William A. Wellman (#349 - Wings, #494 - The Public Enemy, #866 - Nothing Sacred, #973 - A Star is Born, #1387 - Track of the Cat)

Review: 

Once upon a time, you could come across a whole variety of Westerns in the same year. The Ox-Bow Incident was a special kind of case that seems apt to come from a craftsman director in William A. Wellman, because he had wanted to do an adaptation of Walter Van Tilburg Clark's novel of the same name, which had been published in 1940 (you might recognize Clark from the fact that Wellman would direct a second Clark adaptation years later with Track of the Cat). The novel was a distinct success with readers in ways different from one could read in usual dime store stuff or films that had covered the dangers of a mob in say, Fritz Lang's Fury (1936), for example. At any rate, Wellman's persistence in wanting to make a film based on the book paid off eventually, doing so with 20th Century Fox (on the condition of doing two films in return) that was shot mostly in studio backlots and sound stages. The film was written and produced by Lamar Trotti, who had added the latter category to his line of work beginning with Thunder Birds (1942), which incidentally had been directed by Wellman. The fact that the film went by the Production Code is interesting, because, well, it depicts a lynching in 1885. It should be noted that Fonda himself had seen a riot that soon turned into a lynching when growing up in Nebraska in 1919, and it probably isn't too surprising that he called this one of the few movies he liked doing at 20th Century Fox and in general. Released in the midst of wartime, the movie was not a hit with audiences on release (with Zanuck noting that even a Laurel and Hardy movie outperformed it), but its legacy has certainly grown in the eight decades since its release. 

What we have is a lean and mean drama of the most efficient kind. It is quite thorough in showing the perils of mob rule and what would happen in a society where the "very conscience of humanity" in law is ignored in a sweeping generalization. The uncompromising truth can hurt when it stares you right in the face because of how timeless that realization is: if you get enough people together to be complicit in an action (whether that involves actions of vigilantism or war), you can do plenty of damage and maybe be able to get away with it, at least if one doesn't mind possibly losing a bit of one's soul in the process. The system of values that we want to hold dear only work if we are willing to accept that for every action we think is "right" to do, we have to accept that there are just as many that we have to confront that are "wrong" that can't be ignored. Among the genre of the Western, it belongs to what we could call a "revisionist" Western (of course that label is more for stuff that happened after the end of the Production Code, but still) that looks upon the Old West and sees just as many cultivators of impulse as there are at the moment. There are no real heroes to be found here, but it doesn't mean the performances are lacking anyway, as evidenced by seeing Fonda play observer in the web of paranoia and impulse that is handled with simple grace that Fonda knows how to do so naturally. Seeing a town lose their soul in the shambling display of mostly unified display of "might makes right" is fit for Fonda and Morgan to waltz into. Andrews leads the group (Quinn and Ford) suffering from the eyes of impulsive fools with a worthy display of anguish worthy of a martyr for one that really was just trying to be a man in a frontier that varies in its view of them. Conroy and Eythe handle the dynamic that arises in defining "what a man looks like" and finding that action really does speak louder than words in the worst possible ways that makes for such a harrowing lesson in the nature of shame and not allowing older authority to take all heed over oneself (regardless of if it is say, a former Confederate). The film builds that gut-churning tension of what may and may not happen when it comes to a town looking for what it thinks is justice to hold to worthwhile realization in sheer audacity. Nothing is easy to find in answers or in letters, but the shame of living with what one sees is probably apt for a lesson to stew on, unless one has a reason to get out of town and start anew. As a whole, it is a pretty good Western that is a cut above a good chunk of the Westerns in its era fitting for a craftsman like Wellman in handling a tale that can still be played for eras of the present about mob rule, for better or worse.

Overall, I give it 9 out of 10 stars.

Track of the Cat.

Review #1387: Track of the Cat.

Cast: 
Robert Mitchum (Curt Bridges), Teresa Wright (Grace Bridges), Diana Lynn (Gwen Williams), Tab Hunter (Harold Bridges), Beulah Bondi (Ma Bridges), Philip Tonge (Pa Bridges), William Hopper (Arthur Bridges), and Carl Switzer (Joe Sam) Directed by William A. Wellman (#349 - Wings, #494 - The Public Enemy, #866 - Nothing Sacred, and #973 - A Star is Born)

Review: 
"Get a director and a writer and leave them alone. That's how the best pictures get made."

Whether the film turned out to be a classic or not, one can respect the diverse range that William A. Wellman brought to film during his time as a director. "Wild Bill" Wellman (who earned the nickname for his World War I air-service) had actually started in film as an actor, owing to his looks that were noticed by Douglas Fairbanks (after trying his hand as a salesman and hockey). However, he soon found the profession of acting to be "unmanly", deciding to shift his focus to jobs behind the camera that would gradually shift to directing. He debuted unofficially as a director with The Twins of Suffering Creek (1920) while starting his career with Fox Film Corporation with low-budget films. However, he soon found himself thrust into directing a World War I pilot melodrama with Wings (1927), which was a hit with audiences. Wellman was known for his high-strung temperament with his actors along with his fast nature of making films, usually settling with just one or two takes for a shot. He did a variety of genres in a career of over thirty years, from war / aviation films to romantic melodramas to comedies to westerns, which helped him earn three Academy Award nominations for directing and one win for Best Story while directing seven actors to Academy Award nominations.

This was the fifth-to-last film of his career, released in the same year that he had done a notable work (in this case aviation) with The High and Mighty (whose star John Wayne served as producer for this feature). However, Track of the Cat did not prove as successful, with Wellman even describing it as "a flop artistically, financially, and Wellmanly" (of course he also once stated that for every good picture, he made at least five stinkers), with one key regret involving not showing the blank panther up close. The film was adapted from the 1949 novel The Track of the Cat from novelist and teacher Walter Van Tilburg Clark, whose previous work The Ox-Bow Incident had been adapted by Wellman into a film a few years earlier, with novelist A.I. Bezzerides writing the screenplay. Wellman aspired to make a black-and-white film in color, where shooting was done with subdued and stark shades of grey, black, and white, which certainly stick out when there is a moment with an element of noticeable color, such as a red coat in the midst of snowy Washington. On the one hand, the film does look quite haunting for a Western, one that seems quite brooding and ambitious to churn out melodrama on an path different from others. Perhaps this turns out better for others who watch it, because I found the ultimate result a middling disappointment, seeming to lack a real purpose of existing beyond interesting imagery and occasional highlight moments. Honestly, I went into the film with a very small rundown on what the film actually was (too much of a plot check can be too much of a plot check), intrigued by Mitchum and Wright with a curiosity over a hunt for a cat. Well, one does certainly see a cat-hunt, but the time is mostly spent of family squabbling that meanders and feels lacking in real tension to make it seem worth it, where spending time in an actual cold mountain with someone you don't like might actually be preferable. I liked seeing Mitchum from time to time, because he has the confidence for a brusque role (by just being nonchalant) despite being fragmented from the others after the first third of the film or so. Wright does fine with a reserved role that is begging for more to do like the character reflects, since Bondi proves to have the most grip with self-righteous furor to go with a browbeaten Hunter that comes into his own with mixed results. As strange as it is to have a young actor play an elderly mystical character, it might seem stranger to note that it is played by former Our Gang star Carl Switzer, who doesn't talk too much during the feature, although he does do a decent job with what he is given. Perhaps the book is more reaching on a philosophical level than the film proves, but I generally found the movie to be just okay at its attempts at something to latch onto. The CinemaScope does tend to make the film look pretty well, but it is what goes on for 102 minutes that make things drop with a thud when it matters most. It is a kind of Western that might appeal to someone looking for something different to look at and think about if the mindset is in the right place.

Overall, I give it 6 out of 10 stars.

A Star Is Born (1937).

Review #973: A Star Is Born.

Cast: 
Janet Gaynor (Esther Blodgett/Vicki Lester), Fredric March (Norman Maine), Adolphe Menjou (Oliver Niles), May Robson (Grandmother Lettie), Andy Devine (Daniel "Danny" McGuire), Lionel Stander (Matt Libby), Owen Moore (Casey Burke), Peggy Wood (Miss Phillips), Elizabeth Jenns (Anita Regis), Edgar Kennedy (Pop Randall), and J. C. Nugent (Mr. Blodgett) Directed by William A. Wellman (#349 - Wings, #494 - The Public Enemy, and #866 - Nothing Sacred)

Review: 
A Star Is Born is certainly a interesting film about the insides of Hollywood (made by people in the system), with a fair amount of melodrama and good performances all around. A Star Is Born is a neat flick that has had the fortune of being remade three times (1954 and 1976, with one coming out in 2018), but this one and its legacy cannot be understated; the fact that the film is in the public domain and is readily available doesn't hurt either. Gaynor has a fine capable charm to her that makes it easy to follow along with her on her path, and she even makes some neat impersonations of actors of the time. March does a fine job as well, portraying his self -destructive arc quite capably that fits in line with the tone of the film. They have a fine amount of chemistry together, seeming quite at ease with each other, with their last scene being quite fitting. Menjou is fairly interesting, making a decent and convincing impression. Robson and her character are quite quirky along with being useful to the film for the most part. Devine and his distinct raspy voice make for a fine side role that makes for some amusement. Stander does a fine job, showing the smarmy nature of his character that comes off as convincing along with helping to giving the film an edge of cynicism. It's not a film mired in optimism (nor pessimism), as it's a film that wants to show the glow along with the drama that goes on with Hollywood, albeit with some inspiration from real life, such as the marriage of Barbara Stanwyck and Frank Fay, though the film has some similarity to What Price Hollywood? (1932), and the studio that had made that film (RKO) had thought about suing Selznick International Pictures (the production company for this film) for plagiarism but had decided against it.

The cinematography by W. Howard Greene is quite nice, showcasing a fair amount of color that certainly stood out for the time. He was given an honorary Academy Award for his color photography on the film (fun fact: from 1936 to 1938, Special Achievement Academy Awards were given for color films, and from 1939-1967 (except for 1957), there were separate awards for black-and-white and color cinematography). This won the Academy Award for Best Writing (Original Story, which is now known as Best Original Screenplay), and it's not hard to see why. It has its heart and mind in the right place while running at a smooth pace of 110 minutes that doesn't have a minute of false nature to it.

Overall, I give it 9 out of 10 stars.

Nothing Sacred.

Review #866: Nothing Sacred.

Cast:
Carole Lombard (Hazel Flagg), Fredric March (Wally Cook), Charles Winninger (Dr. Enoch Downer), Walter Connolly (Oliver Stone), Sig Ruman (Dr. Emil Eggelhoffer), Frank Fay (Master of Ceremonies), Troy Brown (Ernest Walker), Maxie Rosenbloom (Max Levinsky), and Margaret Hamilton (Warsaw, Vermont Drugstore Lady) Directed by William A. Wellman (#349 - Wings and #494 - The Public Enemy)

Review:
In a time like this, Nothing Sacred manages to find its place in being relevant to the point where it is timeless, in part due to a neat simple story and some fun screwball comedy within its satire elements. This film is readily easy to find, due to it being in the public domain after its copyright registration wasn't renewed in 1965, so you can find it on the Internet (or other alternative manners) without problem. It should be noted that this was the first screwball comedy in color, along with Lombard's only film in Technicolor, and it certainly stands out. This was also a film that used effects such as rear screen projection (most notably during the scene where the characters arrive in New York via plane). Lombard and March certainly have a decent chemistry together, especially when they argue, which culminates with a "boxing" scene at the end. Lombard has a welcoming presence, being one easy to root for, certainly fitting the part with enough grace and charm to fit such a fun role, which she often called one of her favorites. Connelly certainly stands out as the exasperated newspaper head; one of my favorite parts is when he tells March's character some news with a cracked voice, obviously trying to hide exasperation, which is amusing. As one would expect there is enough fine little lines, with a fine balance of timing. The rest of the cast is also pretty good, even if the film is really all about Lombard and March, who seem to have a really good time. The satire excels in that it doesn't choke the fun of the film nor does it seem artificial. It's not a film that will make you deeply about journalism and the "big story", but it is a movie that would inspire at least one conversation, and I suppose that is all that counts.

Overall, I give it 9 out of 10 stars.

Movie Night: The Public Enemy.

Review #494: The Public Enemy.

Cast
James Cagney (Tom Powers), Jean Harlow (Gwen Allen), Edward Woods (Matt Doyle), Joan Blondell (Mamie), Donald Cook (Mike Powers), Leslie Fenton (Nails Nathan), Mae Clarke (Kitty), and Beryl Mercer (Ma Powers) Directed by William A. Wellman (#349 - Wings)

Review
Originally Edward Woods was going to be the main character, until it was decided that Cagney was more effective in the lead role, and it's not hard to see why. Cagney has a distinctive voice for the role and stature, which works especially well for a gangster film. The film itself may seem dated, but it is certainly an interesting look into the criminal world. The rest of the actors are good, and Cagney pairs off well with Woods, which is a fine surprise. The scene most refer to as the most memorable is the grapefruit scene as Cagney smashes it into Mae Clarke's face, leaving in a huff. It certainly is a powerful scene, and it must've been really surprising back in 1931. This film certainly shows its age, given the sound, the use of live ammunition in one scene, but despite that, the film manages to get its point across, about the criminal underbelly of small time gangsters, that can be in any town, any where. Countdown to 500 Reviews: 10, 9, 8, 7, 6...

Overall, I give it 9 out of 10 stars.

Movie Night: Wings (1927).

 Review #349: Wings.

Cast
Charles Rogers (Jack Powell), Clara Bow (Mary Preston), Richard Arlen (David Armstrong), Gary Cooper (Cadet White), Jobyna Ralston (Sylvia Lewis), El Brendel (Herman Schwimpf), Richard Tucker (Air Commander), Gunboat Smith (Sergeant), and Roscoe Karns (Lieutenant Cameron) Directed by William A. Wellman.

Review
Wings is an unique film in some ways. It was the first film to win Best Picture (known as Outstanding Picture at the time) at the first Academy Awards, the only silent film to win the award, and it also includes aerial action from the yesteryear of 1927, over 85 years ago. But does this film still hold up? Yeah, pretty much. The actors do try to convey emotion, to convey message with expressions rather then voice (Obviously considering this is silent), which works decent. Clara Bow does a memorable job, though, having a certain zing which manages to make you interested in her character, which helps. The aerial action is understandably cool. It works really well, especially with the brief flash of color when the planes go down. The story isn't a whole lot, but the action and the relative enjoyment exceed overall. Is it great? Not precisely, but it is a fixture of importance in film and in history, which is more than enough. Countdown to 350 Reviews: 10, 9, 8, 7, 6, 5, 4, 3, 2, 1.

Overall, I give it 9 out of 10 stars.