In John Ford’s 1962 late career masterpiece, “The Man Who Shot Liberty Valance” there’s a line quoted by the town’s newspaper editor, Maxwell Scott, “This is the West, sir. When the legend becomes fact, print the legend.” And that’s just what John Ford was best at, recording the west not as it was, but as more of a mystical fable of how we want the west to be best remembered. Ford and his screenwriters play loose with the facts, still it is one of the most visually stunning of westerns, a black and white canvas of the west as it never existed, but we all wish it had.
Earp’s career has been idolized, revised and sanitized many times over. He was only a lawman for about eight years, and in Tombstone, it was Wyatt’s brother Virgil who was the Marshal with Wyatt and Virgil his deputies.(1) Not to bore you dear reader with the facts, but neither Doc Holliday nor Pop Clanton died during the short thirty second battle. Wyatt actually met Doc Holliday in Dodge City back in 1876 five years before the O.K. Corral shootings. When they left for Tombstone, John “Doc” Holliday followed. If you want a somewhat more realistic, though still not totally accurate, version of what happened back in 1881 at the O.K. Corral and its aftermath, check out John Sturges “Hour of the Gun.” Oh yeah, a couple of other things, when Wyatt visits the grave of the youngest Earp, James who was killed by the Clanton’s early in the film, his tombstone reads he died in 1882 instead of ’81 when the shootout occurred. And as for Clementine Carter, well she is a purely fictional character. Continue reading →
Director Frank Borzage began his career in silent film having won two Oscars by 1931 (7th Heaven -1927 and Bad Girl – 1931). “The Mortal Storm” was released in 1940 while the U.S. was still in an official position of neutrality on the war that was raging in Europe. Based on a novel by Phyllis Bottome (1938) the film was, like the 1939 Warner Brothers film “Confession s of a Nazi Spy”, a blatant anti-Nazi film or at least as blatant as the film studios dared to be in those pre-war days.
During the time prior to the U.S. entering the war, Hollywood was cautioned by Washington politicians not to violate the Neutrality Acts of 1935, 1936 and 1937 by making any films that were openly anti-Nazi or anti-Japanese. The Government insisted during this period that no specific enemies or nations be mentioned; it could be only vaguely insinuated. Many studio heads balked about this unvoiced position though for the most part they followed the Government’s orders. Sometimes, like in the 1939 “Confessions of a Nazi Spy”, they did not. And of course there was Charlie Chaplin who financed his own film mocking Hitler and Mussolini in “The Great Dictator.” In between these two films came MGM’s “The Mortal Storm” which clearly states right at the beginning that the story takes place in Southern Germany in a small university village. Continue reading →
Nick Ray’s “On Dangerous Ground” is a film split into two distinct acts. Based on a novel by Gerald Butler, an excellent screenplay by A.I. Bezzerides, a magnificent score by the great Bernard Hermann with top-notch performances by Robert Ryan and Ida Lupino.
Robert Ryan is excellent as Jim Wilson, a neurotic, indifferent detective who has no life other than cleaning up the dirty slime filled streets filled with human vermin. Yet he manages to find salvation and rediscover his humanity in the gentle soul of the beautiful though blind Mary Malden (Lupino), the sister of the young murderer pursued by the law. Ryan has portrayed many hard-edged, unsentimental characters in his career though this is arguably one of his best. Ida Lupino is truly touching as Mary giving one of her most vulnerable performances of her career.
In the hands of another director, this film could have turned in a sloppy melodrama. With Nick Ray in control, we get a post-modernist edgy film noir contrasting the dark harsh crime filled streets of the city against the clean stark cold wintry beauty of the country. Like many of Ray’s films, there is a sense of loneliness and sadness in the characters. Similar lost characters fill the screen in other Ray works like “Rebel without a Cause” and “The Lusty Men.” With “On Dangerous Ground” Ray again transcends the genre he is working in creating a personal vision fueled by outsiders and non-conformist structuring their own moral code to live by.
Ray’s opens the films with his own idiosyncratic style with an arresting scene of a cop’s wife ritualistically and sensuously fastening her husband’s shoulder holster as he prepares to leave for work.
“On Dangerous Ground” is a melancholy work of dark beauty that should not be missed.
TCM will be showing “On Dangerous Ground” on Tuesday at 3:30AM EST.