Businessman Logan Stuart—Dana Andrews in one of the best performances of his career—is torn between his love of two very different women in 1850s Oregon, and his loyalty to a greedy banker and compulsive gambler friend who goes over the line.
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Cowboys and Indians! What a gem of a film. The fearless businessman Logan, travelling on horseback through beautiful untouched country with the lovely Lucy by his side. But Lucy is betrothed to George, and George takes to gambling.
A wonderful combination of action, love, rich with dialogue and fantastic scenes, this film is a nice take on a bygone era.
The color but also the muddy atmosphere of the film are both stunning. Check oout the kissing scene. One of the most revealing and surprising film sequences related to love and chivalry that I have seen in years. Tourneur is a beast.
The Pacific Northwest never looked so richly panoramic in this pseudo-realistic testimony to the indomitable spirit of the 19thC settlers. The native Indians retaliate when provoked, but the high-minded gunslingin' guy gets the right girl and the sun sets in Technicolour. The brisk dialogue belies the movie's 1946 origins, and the songs stick in your gullet or your ear, depending on your taste.
A surprise treat for a Saturday afternoon: a Western I'd never heard of at the Metrograph introduced by a Sony Pictures Classic exec. It's a wonderful film by Tourneur—almost a masterpiece—rich with characters and political complexity as it looks at communities springing up in the West. Smarter, in a lot of ways, than Ford—or at least its optimism about the people who might conquer the land is more guarded.
Ah, the glorious technicolor of Natalie Kalmus!, its pictorial extravaganza that resizes any frame, any scene. The sky that threatens us, the vegetation that cuts us out, the river that rises, the look of the actors that it's expanded in its immanence. Although Tourneur is a magnificent filmmaker - see the sequences of the Indians attacks - the cinematography of this film is its most consummate effect.
An elegant use of color, from naturalistic shots of the hero (only occasionally giving away their subjectivity) to the self-erected underground of a vile gambler and, later, the red tints used to heighten "red" skins. The Other is always a little more Other-some in Tourneur's films, though that also makes their disruptions of white myopia so much more effective and resonant.