In the forties, when color arrived everywhere, we marveled watching some gem like "The red shoes" or this one in a stunning Technicolor. But "Canyon Passage" goes beyond its wonderful looks. Watch how Tourneur carefully makes his scenes last, even if the main character is gone. There are many subplots but also a strong cinematic will to work on the off screen : before the shot and even after, the village lived.
Quality western with good characters and excellent cinematography and Technicolor decor. It builds up to an intense climax of mass destruction, mayhem and death and the only thing that stops this film from being an ultimate classic is that it could easily have had an additional half hour to make the ending more rounded and emotional. Still among the best of classic westerners.
This film has so many great things going for it... but a solid plot isnt one of them. With characters thin as hair and relationships pulled out of a hat, the last 30 minutes truly come apart. Populated by a stellar cast with a Ward Bond playing one of his most vicious villains I can remember and Hoagy Camichael at his best, the film deserved better production and direction. Criticism aside, a worthy watch no doubt!
This is pretty much a perfect movie. Reminded me of The Man Who Shot Liberty Valance in how it uses two figures representing contrasting types of masculinity to interrogate the grey areas of the male psyche, the latent violence under the veneer of civilisation and the tensions in the ideology of speculation and domination that built the Old West. Also, it looks absolutely gorgeous.
Il y a tout: des indiens, de l'action, des chariots de pionniers attaqués par des indiens, des bons et des méchants des amours impossibles, des voyous, des voleurs des vieux rigolos bref ça devrait être super mais bon ces n'est pas le cas. Il manque l'étincelle! Peut être parce que Tourneur n'est pas américain.
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 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.
Beautifully shot, tightly directed. One of those classic films that run smoothly like a little, perfectly built and constructed, well-oiled machine. The cabin building sequence must have been the model for Weir's Witness, some 35 years later. (Ideology? The Indians? They should have been content with that basket full of apples...)
Not as together or as poetic as Stars in my Crown, but the affectionate feeling for a functional, united community is already here, so is the attention to individual detail and character psychology (mostly male). The screenplay seems at times arbitrary, like an excuse to show breathtaking landscape and memorable scenes. Also, this is the most tasteful use of technicolor ever. An impressive, peculiar film.
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.