Blutiger Staub

This film has an excellent premise, a solid cast, beautiful scenery, and a fine (if brief) score. Yet the final product is only OK. I put the blame on directing and writing that isn't very compelling or incisive.

The same can be said of other MGM films from the late 1940's and early 1950's that I've seen. RKO, 20th Century-Fox, or Paramount would have made this film in a more exciting and engaging manner. For some reason, MGM films from around this time tended to pull their punches.

The Outriders fulfills its genre with minimal expense but maximal outcome. Only a few brief frames appear spectacular, and many of the pleasures are among the overlooked qualities of the mid-20c Western: laconic dialog, complex plotting, psychological challenges, friendships and honor tested. The budget and production values are always restrained, but the strength of the studio system shows in excellent lighting and color plus a number of realistic outdoor scenes blending finely with studio effects. Other reviewers noted the convincing mattes of Santa Fe, but I felt almost intoxicated by the deep blue sky-backdrop to the camping scene that turns from a comic riot to a dance of love.

The other virtue of the studio system is the stable of professional actors who perform their roles not to steal scenes but in service of the plot. Joel McCrea may excel even Randolph Scott in saying the most with the least words while never ever lying--the Western-hero actors of their generation internalized completely the cowboy as a latter-day knight, and the alchemy of script and star is fascinating. Arlene Dahl may be even more economical with her speech than McCrea. In the central dance scene she speaks not a word until a critical moment, then agrees to dance with McCrea only if he bows to put fresh shoes on her feet. The scene is all about sex, but the actors, the script, the direction, and the genre completely control the sexuality's expression.

In the supporting ranks James Whitmore, not yet 30, is convincing as an old-coot warrior-sidekick with kidney trouble, while Ramon Navarro--a former sex symbol entering his 50s--plays a Mexican padrone who's still got chops. Barry Sullivan and Jeff Corey remain menacing even when they're acting cooperative. Claude Jarman, Jr. is always worth watching but the director or editor seemed to forget he was in the movie.

I couldn't stop watching, but the less-enthusiastic reviewers have a point. The film fulfills its genre so professionally that it never falls below a certain level. But those same qualities make its most beautiful moments somewhat understated, like something even better might once have been imagined but for now they need to finish a movie.

The Outriders is directed by Roy Rowland and written by Irving Ravetch. It stars Joel McCrea, Arlene Dahl, Barry Sullivan, James Whitmore, Ramon Novarro, Jeff Corey and Claude Jarman. Music is by Andre Previn and cinematography by Charles Schoenbaum.

Plot sees McCrea as Will Owen, the alpha male of three Confederate prisoners who escape from Camp Benton Stockade and promptly get recruited by one of William Quantrill's Bushwhacker units. Assigned to infiltrate a Don Chaves (Novarro) run wagon train that's carrying a fortune in gold, the men must deal with Indians, each other, and the hazards that the journey throws up.

Out of MGM with some production value of note, The Outsiders rises above simplicity of story to unfurl a darn fine Oater. Narratively it has strengths, where Owen's moral conscience forms a spiky backdrop to plotting. Be it his views on the unsavoury tactics employed by Keeley's (Corey) Bushwhackers, and his place as the undercover leader leading the wagon train to doom, or the positioning of his feelings - and others around him - towards the female of the group (Dahl) and that of her teenage brother-in-law. Owen is definitely in emotional turmoil.

From an action stand point the pic doesn't short change, with Indian attacks, internal fisticuffs and a rousing chase followed by the big siege finale, all of which are delivered admirably and scored robustly by Previn. The stand-out, though, is a high energy section of film that sees the group trying to get over a river at high tide flood level and is running a current of death! These scenes are expertly constructed and are of the breath holding standard. Yet the greatest part of the piece finds the group indulging in a square dance evening, where the men are blowing away the cob-webs with hooch, while the delectable Dahl holds court right in the middle. The sexual tension is palpable, the atmosphere electric, and as it happens, it forms a key part of proceedings.

Tech credits are high as well, led by the the excellent capturing of the Utah locations by Schoenbaum, this is most pleasing on the eyes. Technicolor is perfect for such an airy Oater, the primary colours positively booming on the screen (check out the water and fire shots), while Dahl was made for such colour lenses. The aforementioned square dance sequences showcase her sexual beauty, with flaming red hair and glorious emerald green shoes acting as glorious crowns to a most appetising filling.

Yes the story is soft, and anyone jaded by the formula of many 1950s Westerns should probably avoid this one - with most almost certainly knowing how it's going to pan out anyway. But there's so much to like here for me to suggest it's an undervalued pic and worth seeking out. Especially for McCrea and Dahl fans. 7/10

Turner Classic Movies rebroadcast "The Outriders" on May 21, 2005, with some improvements. TCM added closed captions and also seems to have transferred the film to a high definition master, so that the Technicolor looks very smooth. The lack of film grain has a down side during some scenes when print damage is apparent, such as the scratches on the film negative that show up in a few scenes, scratches that are more jarring due to how good most of the print looks. This Western stands head and shoulders over most Westerns released in the past 20 years. Just look at the supporting actors: James Whitmore, Barry Sullivan, Ramon Novarro and, of course, Jeff Corey as the very reasonable, psychopathic Southern raider Keeley. In 1950, MGM still had the production staff and budgets to make its movies look great. The matte effects by Arnold Gillespie at the start, showing old Santa Fe, are as well done as any today. During action scenes, MGM did not skimp on stunt extras. There is one scene near the start, as Joel McCrea and the three other riders with him are riding on top of a ridge, the sun setting behind them. Even if the director lifted the look of the scene from a similar scene in the black and white Winchester '73, this Technicolor scene, only a few seconds long, must have been tough to get right. That attention to quality is consistent throughout this movie. "The Outriders" is an example of what the old Hollywood studios did best: turning out technically well made, interesting movies by the dozens each year. In my minority view, newer popular Westerns such as "Silverado" and "The Unforgiven" don't hold a candle to "The Outriders."

Joel McCrea did another western with a similar premise to The Outriders for Warner Brothers in South of St. Louis. That was three partners in a cattle ranch who all went their separate ways as a result of the Civil War.

Here to the premise is three men who also go their separate ways as a result of the Civil War. Here the shared experience is prison camp. Joel McCrea, Barry Sullivan, and James Whitmore are Confederate prisoners who escape in early 1865. In effecting their escape they fall into the hands of a rebel guerrilla leader played by Jeff Corey.

Being guerrillas these guys don't play by the rules. The trio either goes west to Santa Fe to act as Judas goats and lead a gold train into ambush or die right there. Even the always honorable Joel McCrea sees he has no options here.

The rest of the story is how the conflicts internal and external are resolved and how the three escaped prisoners decide what course they have to take. Oh, and Joel McCrea meets up with Arlene Dahl and she kind of helps him along in the decision process.

The movies never had a more honorable or stalwart hero than Joel McCrea. And if you've seen any of his films, fans will know that whatever he does it will be the honorable thing. It's a tribute to McCrea that if he insisted on always being the stalwart hero, he had the talent and personality to carry it off.

It's familiar ground for Joel McCrea, but western fans will like the story and the gorgeous technicolor photography that captures it.