Ein toller Bursche

This is Clark Gable in his fifth film after Gone With the Wind and pre-World War II when he was at the peak of his Clark Gable screen persona that he best remembered by as the rugged, devil-may-care, reckless, dangerous, sly, witty, conniving, and handsome character that finds trouble and romance equally irresistible. Kind of like the character that Sean Connery portrayed in his early Bond pictures. This is typical Gable matched up with his feminine romantic adversary this time around in a young Lana Turner in their first film together. Turner is absolutely beautiful. He's a con man and gambler in the old west that flees from town to town one step ahead of the law and anyone he's crossed or bamboozled. He and his side kick Chill Wills land in a town where he ends up in love with the Judge daughter. He and the Judge played by Frank Morgan share a common shady past. Gable buys a saloon and ends up taking over the town but there's plenty of trouble always looming while he simultaneously tries to lead the life of a settled down married man. Claire Trevor, Majorie Main and Albert Dekker are among the supporting cast. Harrold Rosson who photographed The Wizzard of Oz and had 5 Academy Award nominations in his long career is the cinematographer with some scenes shot by 4 time Academy Award nominated and long-time Greta Garbo photographer William H. Daniels. Jack Conway who directed Gable in Boomtwon, Too Hot to Handle, Saratoga and The Hucksters as well as directing such notable films as Red Headed Woman, Libeled Lady and A Tale of Two Cities is the film's director. Franz Waxman provides the score. It's a nice blend of drama, romance and comedy and I would give it an 8.5 out of 10.

Fast talking conman "Candy" Johnson is a kissing cousin to a Rhett Butler without card tricks; oozing charm that disarms men and women alike, Candy arrives in the Western town of Yellow Creek and, through corruption, rises to the top both politically and economically. Made only two years after "Gone with the Wind," "Honky Tonk" has some echoes of the Selznick epic woven into its melodramatic scenario. However, the primary throwback to the Civil War epic is Clark Gable, who not only looks exactly as he did as Butler, but his performance closely tracks the earlier iconic role as well. Cocky and flashing his trademark grin, Gable flirts, cons, and shoots with the best, aided and abetted by Chill Wills as his bewhiskered side-kick, "The Sniper."

The twenty-year age difference between Gable and the film's female lead, Lana Turner, passes without remark, because Gable's charms are understandably ageless. At age 20, Turner is already glamorous and incandescent with her bleached blonde hair and pale flawless skin, which glow in Harold Rosson's crisp black-and-white camera-work. Beyond Wills, the other supporting players are skilled veterans. Sharp and tough, Claire Trevor is always fascinating to watch, and she provides romantic rivalry for Turner and gal-pal friendship for Gable. Frank Morgan as Turner's alcoholic father and Albert Dekker as Gable's rival for power are effective, and Marjorie Main supplies the needed light moments. All told, the stars and cast are the film's primary assets.

Directed by Jack Conway, "Honky Tonk" is a predictable, but entertaining star vehicle for Gable and a showcase for emerging star Lana Turner. As such, fans of Turner will be entranced, while Gable's followers will consider the film essential viewing.

This picture starts out with great promise; A con-man and his sidekick about to get ridden out of a town on a rail, tarred and feathered, but they turn the tables on the angry mob and 'hightail it' out on the next train. In the next town he meets Lana Turner, and the action and narrative come to a screeching halt as the story becomes a sappy love story with the old west as a backdrop.

I say 'sappy', because there is not a note of veracity in what follows, as unlikely and far-fetched a love story as can be imagined. Gable gives it all he's got but Lana Turner was a lightweight as an actress and is no help. They are both hampered by a sappy script designed to pander to 40's audiences but which nowadays is just irritating, right down to the happy (sappy?) ending. OK for Gable fans but pass on this one if you're not.

I can't believe the relatively low score for this movie! It is unfathomable to me. I don't usually gush about movies but I enjoyed this film immensely. Dashing Clark Gable and glamorous Lana Turner have terrific chemistry and their witty (and later amorous) exchanges were pure enjoyment to behold. The supporting cast is also excellent. The sharply written screenplay is a perfect balance of romance, drama, action, and even comedy such as when Candy smooth talks his way through jams) that is executed with such aplomb and zest that I was on cloud nine after watching this film. This is not only one of my favorite westerns but also one of my favorite films period. It's a shame it isn't as much in the public consciousness as it deserves to be. Highest recommendation! 10/10

I can't add much to what has already been written about this film, except a couple of observations. One is that I am surprised by how sexy the dialogue is, and some of the situations. Parts of it play almost like a Pre-Code film. For example, when Lana wakes up the morning after "clinching" her marriage to Gable, she is in a double bed. She looks over at his side of the bed, and sees just his pillow there, as he has already gotten up. He soon comes into the room, and the story continues. What is amazing, for the post-Code year of 1941, is that they obviously slept in the same bed. As everyone knows, from 1934 until the 1960s, married couples were always limited to twin beds. Or I thought they were. I wonder how many other films got away with this? Perhaps because it is an "historical" story, the censors excused it. There are some other scenes in the film that also push the 1941 envelope- some subtle, some pretty obvious.

I agree with the others posters who point out the great chemistry between Gable and Turner. They played well in all their films together. Gable is at his height here as "Gable." The amusing, macho character everyone always remembers. Mostly by way of Rhett Butler. This was pretty much his film persona at the time. It's interesting when you watch his early '30s films, when he had a perhaps wider range of parts. He often played sensitive, educated men in those films (after his initial period playing gangsters). Doctors, a minister, flyers, an Italian soldier, Fletcher Christian, etc. I kind of wish he had played more of those types later in his career. But the public seemed to prefer him as endearing rascals.

Among a group of great character actors, Marjorie Main is the standout, for me. I love all her snide comments and zingers, which are always on the mark. She was one of those supporting actors who could steal a scene from just about anyone. And she often acted as kind of a Greek chorus, summing up the goings on. You can't help but think of Ma Kettle, as they are similar types.

Anyway, this is a pretty enjoyable film. Gable at his peak, Turner on her way up, and MGM at its zenith. And some racy dialogue, to boot.