Un cansado pistolero intenta establecerse con una familia, pero un conflicto latente entre colonos y ganaderos lo obliga a actuar.Un cansado pistolero intenta establecerse con una familia, pero un conflicto latente entre colonos y ganaderos lo obliga a actuar.Un cansado pistolero intenta establecerse con una familia, pero un conflicto latente entre colonos y ganaderos lo obliga a actuar.
- Dirección
- Guionistas
- Elenco
- Ganó 1 premio Óscar
- 8 premios ganados y 13 nominaciones en total
- Jack Wilson
- (as Walter Jack Palance)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
There are so many scenes in SHANE that standout as epic. They are like the jagged mountainscapes that dominate the picture: A young boy, slogging around in a marsh, aims his toy gun on a deer grazing on some grass stems, the deer lifts it's antlers and perfectly frames a lone rider approaching in the distance, a struggling family homestead held together by hard work, the father splitting wood, the mother baking in the kitchen, and always the mountains jutting upwards away off in the distance.
We have a stranger, lean and handsome, dressed in fringed buckskin. His dress and gun belt suggest something other than a farmer or rancher, yet we never really know, or ever know, of his past. He is kind and modest, and takes time to address the boy as though someone worth talking to, "You were watching me down the trail quite a spell, weren't you. I like a man who watches things going around.....He can make his mark someday." the boy smiles up at him, and an instant bond is formed, an idol worship in the making.
We have snickering, troublesome ranchhands who spend any free hours swilling whiskey at Graftons General Merchantile. "I thought I smelled pig. Which one of those tatter-pickers are you working for? Or are you just squattin' on the range?" this is the kind of menace that dogsany farmer who dares to come into town.
We have Shane, although trying to lead the simple life of farming, goaded into a fight by a sweaty-faced cowpoke (Ben Johnson). His bloodying of the cowpoke is like a violent ballet, graceful and cutting.
There is a meeting of the homesteaders, huddled together by lamplight, trying to solve there problems by resolving to go into town all together so that they would have strength in numbers. This is a rather sad scene since WE know that will be in vain.
There is touching elegance to the 4th of July celebration where there is fiddle music and dancing. Shane and Marion (the boy's mother) take a few turns to a reel..... dancing with others in the corral. Van Heflin (the Boy's father) is symbolically shut out beyond the fence. "Marion, they fenced me out" he grins. Yet we know that there is a growing affection between the two dancers.
There is tension in the late evening when the head of the ranchers pays visit to the homestead. "Look Starrett. When I come to this country you weren't much older than your boy there........ How would you like to go partners with me." It's sad because this is a real if clumsy attempt to "be reasonable" But as Shane would say on more than one occasion, "it's no use".
I could go on; the murder of the Stonewall at the hands of an especially evil hired gun from Cheyenne has great impact. And, the final confrontation at Graftons one fateful night, is one of the best in Westerns.
The characters are well developed and the story, while exiting, is a little melancholy.
The best Western ever made.
Besides the first-rate cast, majestic scenery, and excellent script, few Westerns capture the mythic history of the West better than Shane. The battle is really one between two types of society. The Rykers represent a feudal type with their land baron ownership of huge swaths of as yet barren land. I'm glad the script includes struggles they've had in taming the territory for their huge cattle-grazing purposes. It's not like they've sacrificed nothing for their dominant position. No doubt it would have been easy for the film to portray them as unadulterated bad guys.
On the other hand, The Starretts and their neighbors may be squatters on the land, but they represent a different future, one of broad settlement, farming pastures, and cooperative community. In short, they're a communal threat to the Strykers dominance. That's shown in their family gatherings, common purpose, and common desire to come together; that is, if they can resist The Strykers' effort to drive them apart. Actor Heflin's dad Starrett represents this resolve and dedication to the community dream, as well as a strong sense of personal morals, which are just the sort needed in order to lead the transition. He has the guts, but does he have the skills, and that's where Shane comes in.
Of course, it's Shane and little Joey that represent the drama's appealing heart. In short, Shane amounts to the vital transition figure between the old and the new. As a gunfighter, he's a product of the open range of the Starretts, but as an exceptional man who's sampled the Starrett's family life he senses the need for constructive change and is willing to risk his life for it. Meanwhile, Joey, in a meaningful sense, represents the power of Shane's enduring norms, which Joey will no doubt carry into his own and the town's future. Ironically, however, Shane realizes that his strength is also an unintentional threat to the Starrett's cohesion as a family unit-- mom (Arthur) is attracted to him, while he's replacing dad as Joey's adult model. Thus, in the celebrated closing, Shane must ride away into an uncertain future, his contribution to civilizing the West his lasting legacy. At the same time, Joey will chase after the hope of somehow being the good man's equal in his coming years. And our last shot is Shane as he rides toward the majestic peaks he has now earned. Thus concrete events in the film transform into a spirit of the new West.
Anyway, this is my take on what I think is the film's powerful subtext embodied in characters and events. All in all, the movie was a critical hit when I was a kid, and I think it still is.
This story is outstanding in so many ways. It is a classic battle of good and evil. It has its share of fist fights and shoot outs, but this film is more about principles than action. It exemplifies principles and values that unfortunately have become outdated in today's society such as, character, integrity, loyalty, pride in accomplishment, persistence and the willingness to fight for what is right. It is also an excellent human interest story and succeeds in getting the viewer to love the homesteaders and hate the ranchers.
George Stevens directed this film late in a notable career and does a splendid job. The locations were breathtaking, shot with majestic mountains in the background of almost every scene. The cinematography was stunning, and the color rich despite the fact that it was filmed almost 50 years ago.
The acting was superlative. Van Heflin wins us over almost immediately with his high minded principles and unshakeable character. He actually has far more lines than Ladd, who was more of an icon of strength than a vocal character. Jack Palance is the archetypal western villain and went on in his career to become the most prominent and enduring villain in movie history. His sneering arrogance and haughty gait made him the villain we loved to hate for decades.
Elisha Cook, as Stonewall Torrey, had a prolific career as a supporting actor, with over 150 appearances in film an TV that spanned almost 60 years. This is one of his best an most memorable roles as a fearless, proud and petulant former confederate that gets goaded into a gunfight with Jack Palance.
Brandon DeWilde as young Joey, gave a compelling performance. One of the best scenes in the movie was when he asked Shane to shoot at a small rock and Shane shot it 5 or 6 times and hit it every time. The wide eyed look of surprise was terrific. Though he went on to do about a dozen mostly minor films, he was never able to capitalize on his success in this role.
Finally, there is Alan Ladd. I've often heard criticisms of his performance of being too low key. I could not disagree more. His understated performance made him loom large as an imposing figure in the film. It created an almost godlike presence. This strong silent portrayal is very attractive adding humility to his many positive qualities. This unassuming style is also what made Gary Cooper so popular.
This film is on my top fifty list of all time. It is a magnum opus that the film industry can be proud of. It combines great filmmaking, direction and acting with a memorable and morally instructive story. This should be required viewing for any serious film buff. A perfect 10.
¿Sabías que…?
- TriviaPrincipal photography had been completed in October, 1951, but the amount of coverage shot by George Stevens resulted in such an extremely protracted editing process that the film wasn't released until August, 1953. All this drove up the costs of what should have been a simple, straightforward Western; in fact, they spiraled so much that Paramount approached Howard Hughes about taking on the property, but he declined. He changed his mind when he saw a rough cut and offered to buy the film on the spot. This made Paramount rethink its strategy--originally it was going to release it as a "B" picture but then decided it should be one of the studio's flagship films of the year. This proved to be a good decision, as the film was a major success and easily recouped its inflated budget.
- ErroresAt the beginning, when Shane rides a horse down the hill, Teton Pass Highway is visible in the background.
- Citas
Shane: I gotta be going on.
Joey: Why, Shane?
Shane: A man has to be what he is, Joey. Can't break the mould. I tried it and it didn't work for me.
Joey: We want you, Shane.
Shane: Joey, there's no living with... with a killing. There's no going back from one. Right or wrong, it's a brand. A brand sticks. There's no going back. Now you run on home to your mother, and tell her... tell her everything's all right. And there aren't any more guns in the valley.
Joey: Shane...
[Joey notices that Shane is wounded]
Joey: It's bloody! You're hurt!
Shane: [Shane starts to stroke Joey's hair] I'm all right, Joey. You go home to your mother and father and grow up to be strong and straight. And, Joey... take care of them, both of them.
Joey: Yes, Shane.
[Shane rides off]
- Créditos curiososIntroducing Brandon De Wilde
- Versiones alternativasThe film was shot in Academy Ratio (1.33:1 or 4:3), but this was done around the time widescreen filmmaking was coming around. As such, many theatres cropped the film into a widescreen ratio to take advantage of this, with many DVDs being cropped as well. The 2013 Blu-ray Disc release is in the proper Academy Ratio.
- ConexionesEdited into Go West, Young Man! (2003)
- Bandas sonorasAbide With Me
(uncredited)
Music by William H. Monk (1861)
Hymn by Henry F. Lyte (1847)
Played on piano and sung by many at a meeting
Also played and sung at a funeral
Selecciones populares
Detalles
Taquilla
- Presupuesto
- USD 3,100,000 (estimado)
- Total a nivel mundial
- USD 21,412
- Tiempo de ejecución
- 1h 58min(118 min)
- Color
- Relación de aspecto
- 1.37 : 1(original aspect ratio)