Whatever else, this pacifist Western gives Wayne his best last line of any film in that long and storied career. I've forgotten who first called the movie a "pacifist Western", but the description fits. For that reason, I expect it's not every Wayne fan's cup of tea. Certainly the tender emotions of family and stability win out in the end, and Wayne's hell-raising past is tamed by a good woman with strong moral character. Of course, this was before he became a macho icon, and so the risk to an established career was not as great. Still, there are submissive moments with Russell, he never again repeats on screen.
It's telling that Wayne himself produced the movie, so what's up there had to pass his executive muster. It's also well-known that he and Russell were involved in a hopeless romantic relationship (he was a married Catholic). My guess is that that personal involvement accounts for many of the film's unusual features. Note, for example, the extended time given to Russell's cutesy reactions to the injured Wayne's delirious ramblings or the many indulgent close-ups of Russell emoting. Note also, how relaxed the famously edgy (stage fright) Russell appears. I'm not saying these features necessarily harm the film itself. In fact, the love scenes manage a warmth and authenticity rare for Hollywood make-believe. What I am suggesting is that a behind-the-scenes personal story may account for much of this notable departure from Wayne's macho norm.
Speaking of Wayne, it's often alleged that his acting abilities were limited, and super-stardom depended on other factors. But consider one particularly demanding scene. The Quaker family's skinflint neighbor Carson (Paul Hurst) has just reconciled with them and is happily taking home a load of pies from Mrs. Worth. To the as-yet unreformed Wayne, he remarks about how good helping his neighbors makes him feel. Watch Wayne's well-shaded reactions that nevertheless pass by quickly. At first he looks puzzled, as though as a tough guy he never considered the possible connection, which passes quickly into a glimmer of understanding as he considers what the connection means, which then passes into a sudden worried look once he realizes that, even as a free spirit, he too is vulnerable to the same taming process. It's a marvelously executed little sequence condensed into maybe a 5 second span, demonstrating the kind of acting ability Wayne was seldom called upon to show.
The movie itself amounts to a generally entertaining blend of action and sentiment (note how the skeptical doctor's role works to prevent the screenplay from becoming too sanctimonious). The producers also wisely popped for some great Arizona location shots that keep the eye interested even when the story wanders indoors. It's mostly tongue-in-cheek since the bad guys aren't really so bad, plus the considerable humor that includes a mock barroom brawl. The buckboard chase makes for an exciting centerpiece, even if the final plunge is not too believable since Russell is supposed to be aboard. Two complaints-- the process shots are poorly done for a studio (Republic) that specialized in action effects, while killing-off the two bad guys in the end strikes me as a mistake. A shaming before running them out of the territory would appear more in keeping with the movie's overall mood. Nonetheless, this is a rather surprisingly good little movie, considering the many ways it could have gone badly wrong.
It's telling that Wayne himself produced the movie, so what's up there had to pass his executive muster. It's also well-known that he and Russell were involved in a hopeless romantic relationship (he was a married Catholic). My guess is that that personal involvement accounts for many of the film's unusual features. Note, for example, the extended time given to Russell's cutesy reactions to the injured Wayne's delirious ramblings or the many indulgent close-ups of Russell emoting. Note also, how relaxed the famously edgy (stage fright) Russell appears. I'm not saying these features necessarily harm the film itself. In fact, the love scenes manage a warmth and authenticity rare for Hollywood make-believe. What I am suggesting is that a behind-the-scenes personal story may account for much of this notable departure from Wayne's macho norm.
Speaking of Wayne, it's often alleged that his acting abilities were limited, and super-stardom depended on other factors. But consider one particularly demanding scene. The Quaker family's skinflint neighbor Carson (Paul Hurst) has just reconciled with them and is happily taking home a load of pies from Mrs. Worth. To the as-yet unreformed Wayne, he remarks about how good helping his neighbors makes him feel. Watch Wayne's well-shaded reactions that nevertheless pass by quickly. At first he looks puzzled, as though as a tough guy he never considered the possible connection, which passes quickly into a glimmer of understanding as he considers what the connection means, which then passes into a sudden worried look once he realizes that, even as a free spirit, he too is vulnerable to the same taming process. It's a marvelously executed little sequence condensed into maybe a 5 second span, demonstrating the kind of acting ability Wayne was seldom called upon to show.
The movie itself amounts to a generally entertaining blend of action and sentiment (note how the skeptical doctor's role works to prevent the screenplay from becoming too sanctimonious). The producers also wisely popped for some great Arizona location shots that keep the eye interested even when the story wanders indoors. It's mostly tongue-in-cheek since the bad guys aren't really so bad, plus the considerable humor that includes a mock barroom brawl. The buckboard chase makes for an exciting centerpiece, even if the final plunge is not too believable since Russell is supposed to be aboard. Two complaints-- the process shots are poorly done for a studio (Republic) that specialized in action effects, while killing-off the two bad guys in the end strikes me as a mistake. A shaming before running them out of the territory would appear more in keeping with the movie's overall mood. Nonetheless, this is a rather surprisingly good little movie, considering the many ways it could have gone badly wrong.