Another massively hyped western that let me down. It’s fine, James Stewart is always good to watch, but it pales in comparison to Ford’s other masterpieces “Stagecoach” and “My Darling Clementine” (and probably “The Searchers,” but it’s been too long for me to comment on that one).
This is a typical John Ford movie and unfortunately not a good one. Full of morality, excessive heroism, submissively building legends; I found it boring & very much (unintendedly) cartoonish; almost everything is too awkward, too obvious. What I really hate are the pseudo-funny, ridiculous, embarassing comediantic elements in this & almost in all his movies.
This one of Ford's best films that displays his love and cynicism for Western folklore. John Wayne, Jimmy Stewart, and Lee Marvin play perfectly into their on screen personas and this is an honest film that shows how it takes the grunts to do the work but the nice ones to take the credit.
to me, quite obviously an older filmmakers work - it seems more a work in introspection that culminates with an aged vera miles and jimmy stewart quietly reflecting on regret and shame. how does one really grasp what time's effects are on a person's moral compass, their sense of pride? the immensity i normally feel in ford is still present, though quieter and perhaps even darker.
The mythology of the old west questioned! Yes, the old archetypes are prevalent, the wonders of the West and the American way of life are put forward, but the foundations are given a good shake. Can modernity really only be achieved through solid law and do gooder or is violence a necessity? Must truth prevail in such in a quest or is deception justifiable? Questions not typically asked in a classical western.
A great little western here. Unfortunately all the on set shooting gives it a bit of a B feel unlike Ford's other films shot in Monument Valley. Jimmy is a bit old to be playing someone fresh out of law school, but Ill let it slide, because the rest of the film is just so damn good. I will know spend the rest of the day talking like the sheriff, who cracks me up every time
Das, was den Western vom Abenteuerfilm unterscheidet, ist der Mythos. Für John Ford muss der "Westen" ein mystischer Ort gewesen sein, an dem seine Träume hingen. Historische Fakten spielen in seinen Filmen deshalb auch nur eine untergeordnete Rolle. Er war ein konservativer Utopist... die ganze Rezension sowie die für fesselndsten Western der klassischen Phase ab 1946 auf cinegeek.de
Takes the efficacy of legend and spits on it for pusillanimous, scrutinizing “realism.” “Liberty” is shot and replaced with “lawful” murder and cuckoldry by an emasculating outsider, priggishly preaching “education” all the while having this tomfoolery championed by a village of complete idiots. One of the most intellectually insulting, predictable double takes finishes ‘er off into the casket.
Every '' great '' nations need mythologies... John Ford is by far the greatest americana's filmmaker... This is probably his best in term of the '' fluidity '' of the editing and the action. But, Searchers, My Darline Valentine, How Green.. and Grapes of Wrath have better cinematography and let the images '' breathe'' more.
That is some real Oscar-worthy acting by both The Duke & Jimmy Stewart. Plus Lee Marvin was perfect as the villain. Although, the story is like in & out because of how goes on with all these main characters while being told in flashback (even the twist at the end). But all I'll say this was a good epic western I have watched from John Ford nevertheless. It's worth a shot for Ford/Wayne fans.
Though I prefer The Searchers this is probably the better film. It registers as a worthy end and apotheosis to Ford's western legacy. Everything you expect is there: the drunken characters, the politics and evolution of these United States, the value of a community, the strong men who hide behind their personas, the conflict between ideologies and traditions, etc. It just lacks the poetry of The Searchers.