Desert Fury - Liebe gewinnt

Although Desert Fury was the first film actually released under his studio of Paramount, Burt Lancaster had already made quite a splash for himself in The Killers and Brute Force. In this one he's third billed behind John Hodiak and Lizabeth Scott and all he really does here is flash the pearly whites and be a stalwart hero as a deputy sheriff.

John Hodiak is a notorious gambler/racketeer has come home to Chuckawalla, Nevada where the Queen of the town Mary Astor with her casino runs the place. Hodiak left the place under a cloud with the death of his wife in an automobile accident which looked suspicious, but no one can prove anything.

Astor's daughter Lizabeth Scott who just quit yet another school is intrigued with Hodiak, but everyone's against the pairing, Astor, Lancaster who has a thing for Scott himself, and Hodiak's sidekick and gunsill Wendell Corey who has a most interesting and quite gay relationship with Hodiak.

Desert Fury is one of those several films from the studio days where gay was strictly taboo yet it somehow got to the screen. That scene where Corey tells Scott how he met a ragged and hungry Hodiak at the Automat and bought him a meal and took him home sure sounded like a pickup to me. Many from the generation before Stonewall told me that the Horn&Hardart Automat was one of the great pickup places in New York. Romances and flings have started in stranger places. No way that the writers would not have known that. Corey's devotion to Hodiak can't be explained any other way as the story unfolds. In fact he's the stronger of the two.

Corey and Mary Astor walk off with the acting honors. Astor covers a lot of the story's defects with a bravura performance that Bette Davis or Barbara Stanwyck would envy.

Desert Fury neither helped or hurt the rising career of Burt Lancaster, but he's far from the center of this story.

Probably the most distinguished feature of DESERT FURY is the spectacular Technicolor Paramount lavished on it, a story of personal conflicts among Nevada's gambling set. Another distinguished feature is MARY ASTOR as Fritzi, a hard-boiled dame who runs a gambling establishment and keeps a tight leash on her willful daughter (LIZABETH SCOTT). Scott is strikingly photographed and reminded me of a more animated version of Veronica Lake.

But complications arise when two men pay too much attention to Astor's daughter--JOHN HODIAK (a no good hunk who may or may not have murdered his wife) and BURT LANCASTER as a wary police officer who keeps Lizabeth Scott on his radar at all times.

It's fun as melodrama, nothing more or less, and at times achieves something of a camp classic with Astor's butch performance as she effortlessly steals the film's acting honors. Take it or leave it, it's all in good, steamy fun with lots of fury going on under those hot Technicolor lights.

Desert Fury is directed by Lewis Allen and adapted to screenplay by A.I. Bezzerides and Robert Rossen from the novel Desert Town written by Ramona Stewart. It stars Lizabeth Scott, John Hodiak, Mary Astor, Burt Lancaster and Wendell Corey. Music is by Miklós Rózsa and cinematography by Edward Cronjager and Charles Lang.

My my, what do we have here then? Desert Fury is a sort of collage of film noir and melodramatic shenanigans played out in splendid Technicolor saturation and set in amongst spanking vistas. Plot in short form finds Scott as Paula Haller, a late teenager who has quit school and returned to Chuckawalla in Nevada. There her mother, Fritzi (Astor), runs the town casino and has powerful friends. Coinciding with Paula's arrival is that of Eddie Bendix (Hodiak), a one time Chuckawalla racketeer who left town under a cloud when his wife was killed in an accident. Town copper Tom Hanson (Lancaster) has the hots for Paula, so when Paula gets the hots for Bendix he is not best pleased - and neither is the mighty Fritzi nor Bendix's "live in chum" Johnny Ryan (Corey).

Pic is absolutely pungent with psychosexual tension, where lead character's sexual orientation is purposely murky for devilish story strand dangles. Dialogue is often noirishly brisk, ripe with innuendo, all as dark secrets and past revelations boil over into glorious character histrionics. Though the powder keg of frustrated human beings is simple in plot structure here, these characters are rather fascinating, there's quite a bit going on beneath the catty and machismo veneers. Past mistakes and missed opportunities hang heavy, the search for more in life also. The reoccurring theme of the bridge that book ends the story is a structure that is either impossible to cross to freedom, or conversely a route back to the safe haven of Chuckawalla. Road to nowhere?

It's not a great movie exactly, it has evident flaws for sure. Hodiak is a touch unconvincing as a heavy mob like dude, a bit too by the numbers, which is a shame because he was often great in noir styled pics (see Somewhere in the Night for example). Now I don't have a problem with Scott, a poor woman's Lauren Bacall she may well be, but some of the scorn she receives is unfair. She's hard to accept as a late teenager here though, especially with her husky voice and delivery of ripe lines belying her supposed youthfulness. Lancaster was at the start of his film career and is utterly wasted, which when it comes alongside his work at this time in The Killers and Brute Force is even more unforgivable. But to offset the acting missteps there's Mary and Wendell...

Astor is on fire, playing a battle axe domineering mother with obvious sexual kinks and life hang-ups, she is both moving and edgily scary. Yet even she is trumped by Corey, in what is his film debut he brings Johnny Ryan to vivid life. Ryan is a ball of man love fire, with a clinical jealousy simmering away, you just know he has it in him to kill should the need arise. Lewis Allen rightly has a mixed reputation, and his bad trait of sinking into melodrama when not required is evident here, but he brings out frothy turns from his principal players. Two excellent cinematographers on show here, both Cronjager (I Wake Up Screaming) and Lang (The Big Heat) delight in using the Technicolor for snazzy sheen value, while the locales in their hands are a sight for sore eyes. Rózsa has done better compositions in his sleep, but his searing strings fit the tone of plotting superbly.

I loved this, in the way I love Johnny Guitar and Slightly Scarlet. Hardly a genius piece of work or a pic that everyone simply must see, but for those who like noir, Westerns or mellers with bends and kinks, then this you should enjoy. 7.5/10

Oh god, what a petrie dish fry up! DESERT FURY is literally hysterical, like a shrill daytime soapie with cinema values. Made in 1947 in perfect glossy Technicolor to distract you from the beserkness and tawdry storyline, this is one terrific exercise in censorship busting antics that managed to fulfill it's reputation. Lizabeth Scott, like a naughty green fairy loose from a bottle of Absinthe, Wendell Corey as the housewife to creepy-teeth gangster mate John Hodiak, Burt Lancaster pretending he doesn't know and Mary Astor the battle cruiser mother each out vie each other in every scene with a regular exchange of niceties followed by face slapping or tantrum and threat. Every scene, like a roundelay of temperament. DESERT FURY is genuine queer cinema. With incest hinted, guns and car tyre screeching, sinister sunglass wearing and cactus pricks everywhere, this wacky hussy of a film makes for a terrific couch night with friends who have never seen it.

Barbara Stanwyck must have been busy, so Hollywood asked Mary Astor to play the hardened "casino" owner trying to protect her daughter from her past mistakes in Desert Fury. Lizbeth Scott is the daughter with bad judgement and a rebellious nature, and she quickly falls for the one man her mother forbids: John Hodiak. John is a gangster and clearly bad news, but Lizbeth insists on ruining herself for him, even when the uniformed, young, handsome Burt Lancaster is in love with her.

The so-called romance between Lizbeth and John is far less interesting than what could be argued as a romance between John and his faithful sidekick, Wendell Corey. Wendell gets an introducing credit in the movie, and he gets an enormously meaty role for his first foray in front of the camera. A villain with many layers, some of which couldn't be discussed because of the Hays Code, he's very protective over his friend and doesn't approve of Lizbeth's moony eyes.

The best part of Desert Fury is Edith Head's costumes. Every single scene, Lizbeth and Mary are dressed in gorgeous dresses that will have you oo-ing and ahh-ing for the entire running length. Lizbeth is very pretty in this film, and dressing her up in such beautiful costumes only makes it more fun to watch her, even when she's exercising bad judgement.