Johnny Guitar - Gejagt, gehaßt, gefürchtet

Just outside of town is a small saloon where the owner, Vienna, plans to develop a new town once the railroad comes through. However her associations with criminals (namely the Dancin' Kid and his gang) bring the disapproving Emma Small and the authorities to the saloon. Aided by the arrival of a man from her past, Vienna stands against them, but only succeeds in putting off the inevitable confrontation in a situation made worse by love and deception.

I came to this film simply because it was the username of another person on the imdb boards and I was intrigued as to what it was about. The film starts as a western but it simply doesn't conform to that genre, instead it is a weirdly matriarchal piece where the traditional roles are almost roundly reversed and the whole film has an otherworldly feel to it. The plot summary doesn't really do justice to a story that essentially comes down to being a battle between Emma and Vienna as well as throwing up all manner of issues regarding the relationships between the characters. The western clichés become secondary to these relationships and the director seems to prefer these to any lynching or shoot out.

The full colour of the film gives it a gaudy, otherworldly appeal that is very enjoyable. Fires range in terrible, hellish reds, while shadows divide scenes of emotional complexity. Heck, it even goes down to the basic level of having the innocent Vienna dressed in perfect white before doing a blood red shirt to become a fugitive. Not all of this works of course, and several times I wished it would settle down into a film that I could recognise rather than being so different from what I am used to, but it was more interesting as a result (aside from being less accessible).

The cast are roundly good but the fireworks belong to the two lead actresses. Despite being the title character, Hayden is rather underplayed but I think that was the point - he is not the typical Western man's man. Crawford is very good as Vienna but she is out-hammed and out-vamped by McCambridge who is excellent. In any other film her performance would be woefully OTT but against the background of a saloon burning with a hellish fire, her facial expression work very well and her whole performance fits well too.

Overall this film is no classic western - mainly because it is not a western but rather a complex story in western clothes. The gaudy colours and cleverly framed shots only serve to enhance a plot that is difficult to fully appreciate but is engaging none the less.

Director Nicholas Ray and credited writer Philip Yordan, not to mention a few other writers drafted in to prevent a disenchanted Joan Crawford from walking off the set, have succeeded in transforming what Ray himself called a 'valueless novel' into what can only be described as an unique filmic experience.

It remains a load of nonsense of course but is elevated by Harry Stradling's cinematography, Ray's compositional sense and a strong cast. The contrast between the natural exteriors and the mannered art direction of the interiors is also very effective.

It has since been categorised by various academics as a 'feminist' film. Looking at the mannish, gun-toting Vienna of Joan Crawford and the sexually repressed, vengeance-seeking Emma of Mercedes McCambridge, I consider that label to be totally inapt. Both artistes are marvellous in their roles however and the most has been made of Miss Crawford's wonderfully expressive eyes but it is the demented performance by the immensely talented Miss McCambridge that provides the film's core.

That core should really have been provided by the relationship between Vienna and the title character but this is alas something of a damp squib. Although Sterling Hayden's presence is undeniable he again has the look of a reluctant performer who'd prefer to be elsewhere.

Strong support from Ward Bond whilst Ernest Borgnine impresses once more as a Neanderthal nitwit. Veteran John Carradine does his best with the underwritten role of Old Tom and the role of Dancin' Kid represents Scott Brady's finest hour, although that would not be difficult.

Although it has become a must for Ray cultists the film had a mixed reception as it was not the full-blown Western that film goers expected in the Hollywood of the 1950's. It was very much appreciated by the French who probably did not class it as a Western at all and it received the seal of approval from the New Ripple brigade.

Westerns have often been called 'horse operas' and they don't come much more operatic than this one. Mr. Ray hit the nail on the head when later referring to his film as 'baroque, very baroque.'

Surely this allegorical western influenced Clint Eastwood when he directed his "Pale Rider" and "High Plains Drifter," though I've never read where he has mentioned it. There are certainly similarities, especially with "High Plains Drifter." The brilliant director Nicholas Ray who threw so much of himself and his search for artistic expression on film into his works at times carries the allegory too far. Good allegory, such as "Moby Dick" and "Huckleberry Finn," must never become too obvious. It then descends into mere cleverness and creative arrogance. The posse from Hell dressed in black led by a perverted Joan of Arc doesn't leave much to the viewer's imagination. Except for a few such parts, most of the movie purports itself well and tells an effective story that can be interpreted on several different levels.

Mercedes McCambridge playing the demonic sexually repressed Emma Small (again the name makes it too easy for the viewer) stands tall amongst a cast of giants. That her voice would be used for the devil's own in "The Exorcist" is understandable for it crackles with fire and brimstone. Jealousy and rejection guide in her determination, nay obsession, to destroy both her sexual rival Vienna and her unrequited love the Dancin' Kid. Sterling Hayden plays the lead character Johnny Logan aka Guitar to perfection. Hayden was not only under-appreciated by the Hollywood moguls but even by himself. In interviews he always trashed his acting talents in much the same way Robert Mitchum tended to do his own. He maintained he was just doing a job that he didn't like very much. In reality Hayden was one of the best performers of his generation as was also true of Mitchum. Joan Crawford who was often miscast finds her niche in "Johnny Guitar." As her roulette spinner says to the camera,"She's more of a man than a woman." She is in control at all times even when there's a rope around her neck. She tells Johnny Guitar when to play his instrument and The Dancin' Kid when to dance. She even holds the posse from Hell at bay until Emma Small steps in. Emma is also a woman in control but only of external forces. Inside, her emotions, fears, and frustrations dominate.

Ernest Borgnine was still playing bullies, which he did so well, at this point in his career. Royal Dano the consumptive gang member always true to The Dancin' Kid gives his usual fine performance. Veteran actor John Carradine appears in somewhat of a different type role than usual as the loyal caretaker for Vienna. One part hearkens back to his best screen portrayal as Preacher Casy in "The Grapes of Wrath" when he tells Vienna that he'll hide young Turkey out in the cottonwoods so the posse can't find him. Nicolas Ray aided young aspiring actors with ability by showcasing their talents in his films. He introduced Dennis Hopper who has an uncredited bit part in "Johnny Guitar." Later Hopper would appear in Ray's "Rebel Without a Cause" with James Dean, Natalie Wood, and Sal Mineo. Look for two other faces that were mainstays of the cinema Sheb Wooley ("High Noon"--he also wrote and recorded "The Purple People Eater")and Denver Pyle ("Bonnie and Clyde," "The Dukes of Hazzard"). There's also the inimitable Ward Bond who could always be counted on to give a good performance.

Any show that starts out with a mountain being blown to pieces, a sand storm of Herculean proportions, and a stage coach holdup can be counted on to deliver the goods. The story about a railroad coming through to change the community takes second place to all the other storms and whirlwinds involving jealousy, greed, and murder. Emma and the posse from Hell are not just on a private vendetta. They are also trying to stop progress that threatens their very way of life. Railroads bring new people, new ideas, and new ways of making a living. Those who benefit from change like it. Those who are hurt by change fight against it with all their might. These forces mix with personal ones to make "Johnny Guitar" one of the best westerns ever. It's not to be missed.

The music for "Johnny Guitar" is a definite plus. Peggy Lee sings the title song, which she helped compose with Victor Young, at the end of the movie as no one else could. She had a sultry blues voice with great feeling and emotion. Oft times she is dismissed as a mere pop singer from the 40's and 50's. Peggy Lee was much more. She was one of the great voices for her era. I couldn't find information about who actually played guitar for Sterling Hayden. The picking is flawless. The closest I've come is the name Howard Roberts, who was the jazz guitarist that backed Peggy Lee on her later hit "Fever." I've read that he could play anything on any type guitar. The dance song picked by Johnny Guitar that inspired The Dancin' Kid to dance with Emma was "Ol' Joe Clark," a folk ditty, usually played on the fiddle, that was popular during the time period thus adding authenticity to the show.

Weird and hysterical Western with Freudian touches , dreamlike emotionalism and magnificent dialogue in which is blended domination, humiliation and a deadly confrontation ; resulting to be a fascinating and melodramatic film .The ex-prostitute Vienna (Joan Crawford) , a Gambling Saloon keeper, has built a saloon outside of town, and she wishes to make her own way once the railroad is put through, but the villagers want her run out of town and some of them hanged . Meanwhile the stagecoach is attacked and four men , Dancin' Kid (Scott Brady) and his hoodlums( Brian Cooper, Ernest Borgnine, Royal Dano) come to the saloon . Righteous Vienna stands strong against them, and is aided by the appearance of a gun-toting old flame of hers, Johnny Guitar (Sterling Hayden), who is not what he seems. As Vienna can't drive Guitar out of her head . Meantime the officials (Frank Ferguson , War Bond) pursue the group led by Dancin' Kid and besiege their booth and occurs a lynch mobs . At the ending takes place a long-expected shootout between the two-fisted enemies averted by a woman's insistence.

Love and hate are woven into two protagonists , the fallen angel Joan Crawford and the spinster landowner Mercedes McCambridge ; both of them share a mythical confrontation . Exceptional performances by all casting as top-notch Joan Crawford as gutsy matriarch squabbling over two men , Sterling Hayden as pacifist saddle-tramp who turns a psychopathic temper taking up his pistols and Mercedes McCambridge as nasty and vengeful harpy . Sensational plethora of secondaries as John Carradine , Paul Fix , Rys Williams , among others. Colorful cinematography with a symbolist use in Trucolor by Harry Stradling. Classic and immortal musical score by Victor Young , including unforgettable songs by Peggy Lee . This hypnotic Western with symbolism rampant is marvelously directed by Nicholas Ray , author of various master pieces and hits as Rebel without cause , 55 days at Pekin and many others . Rating : Very good , exceptional and indispensable seeing . Two thumbs up

Boy this is a jewel, and for many different reasons. A good lot of people deserve credit for their work

First is Nicholas Ray for his direction. A fine preparation and presentation of the visual elements really took some doing. The use, but not excessive glorification (thank goodness), of the relatively new Trucolor is well-done; the horses full of black-clad riders rushing up the rocky hill in the night, the many shots of the furious blazes dissolving Vienna's place, and so much more.

The acting is remarkable. Sterling Heyden, just in standing before the camera and delivering his lines in that firm and fearless manner (ala Asphalt Jungle), is a strong presence. John Carradine once again shows himself as the precious dramatist he proved himself to be many years before in The Grapes of Wrath.

What strikes me the most, though, is Ben Maddow's (thank Phillip Yordan for being an heroic front) screenplay. It is not only thick in theme and symbolism, it is thick with what was (at the time) almost unprecedented elements. Both Vienna and Emma are, as either GOOD or BAD, shown as the leaders of men! Pacifism is being shown as a good thing! Is that the good guys wearing black and the bad guys wearing white (or maybe the other way around)?! As many comments have mentioned, the Un-American Activities Committee parallels (complete with the entire Ox-Bow-esquire element) are, really, quite thinly veiled. The economically powerful, Small and McIver, are dominant and monopolistic capitalists (a version of antagonism almost unseen, for obvious reasons, since the McCarthey-assaulted Force of Evil). Remember, this is 1954!!!! This stuff is downright revolutionary! How did they ever get it all past the censors and masters of the code?

Let's hope time doesn't forget this one in favor of some formulaic shoot-'em-ups simply because they feature "the Duke."