Hombre hasta el fin

This was a decently put together film. Not too heavy but not too lightweight either, (the bullwhip fight with Matthau is almost worth the price of admission). It is a basic decent family film that doesn't get saccharine or soggy. The white indentured servant angle is one that I haven't seen a lot of and it plays well here. Burt is robust as usual and kickin' a lot of frontier butt. Its kinda unusual(for me) to see him play a rube.

This is a delightful movie. For one thing, it does a fine job of putting you in the time and place - the set interiors are wonderful. Burt Lancaster is great as the boy grown up who wants his son to be free in a free country, to "take life in big bites", as he has done. That events conspire against him is inevitable, and the story pulls you along convincingly. The one to watch for is Walter Matthau, in a very early role, who is a real SOB with a wicked bullwhip. While the dialogue may sound preposterous and stilted, this is the way people spoke back in 18th century America, and the movie wins on many points. While it is definitely a product of the 50's, and feels like it, it still rings authentic and heart felt in a way that many other similar movies from the same period simply do not. A cut above, and definitely worth the time to seek out and watch.

BURT LANCASTER stars as THE KENTUCKIAN who has a yearning to go where the grass is greener and wants to leave Kentucky for a new life in Texas with his young son in tow. DIANA LYNN is a pretty schoolteacher at the schoolhouse cabin and DIANNE FOSTER is the other female lead, an indentured servant, with a yen for Lancaster.

Good supporting roles for WALTER MATTHAU (making his screen debut) and JOHN CARRADINE. JOHN LITEL makes a welcome appearance as a riverboat man, but the story lacks a strong enough plot to maintain interest in the rather pedestrian proceedings. Filmed in widescreen color and CinemaScope, it looks as though a lavish budget has been expended on a tiresome script.

Fortunately, the film picks up interest toward the last fifteen minutes when Lancaster and his son have to defend themselves against badman Matthau and his cohorts. There's also a confrontational bullwhip scene with Matthau and Lancaster that is well staged and effective.

But the story is rather trite and there's nothing special about Lancaster's performance or his direction. I would have preferred a more appealing youngster for Young Eli than DONALD MacDONALD who walks through his role without ever inhabiting it.

Burt Lancaster remains one of my all-time favorite American actors, but I do not think his decision to direct THE KENTUCKIAN was his wisest.

Clearly, Burt was concerned with his image from the start, his hair always neatly coiffured despite tackling dense forest in the Kentuckyan wilds, and he wastes no time highlighting his own athleticism, good looks, healthy teeth, and blue eyes.

As Elias Wakefield, he also plays the part of a caring father to a poor Little Eli who suffers abuse at school, but is such a pure, natural child that you overlook how different Little Eli's facial features are from his progenitor's. Elias Sr. also allows himself to beaten up to a pulp before he subdues nasty Bodine (played by Matthau), and at the end he runs out the evil Fromes in great style.

John McIntire plays a solid supporting role as Elias Sr.'s older brother, who seems to care for him as much as he wants him to stay in place and do all the hard work, thereby making poor Elias Sr. the target of brotherly exploitation.

The cherry on this self-enhancing effort is Burt's capacity to have two women swooning over him. First, he is interested in Diane Foster (who is even willing to work to pay his move to Texas) but stops short of giving her the unequivocal nod, which obviously frustrates her; then, without much ado, he kisses and plans to marry Diana Lynn, and to stay in Kentucky; but, at movie's end, he listens to Little Eli and his desire to move to Texas and his preference for Diane Foster (I suppose Elias Sr. was well ahead of his time, listening to his son and acting like a late 20th Century father).

There are some brief and eye-catching sideshows like the river boat, and a band of black musicians who play a delightful tune, and - again - seem to belong more in the 1950s than in the 19th Century.

At the river boat, Elias Sr. achieves another feather for his cap, as a card greenhorn who actually cleans out the house. Attaboy, Burt!

In the end, THE KENTUCKIAN is a kind-hearted movie but I felt that I was never to lose sight of the fact that Burt was pulling all the strings... which, from my standpoint, lowers the film's quality, and gives the wrong impression about the thoughtful, humane, and intelligent human being that Burt Lancaster actually was. 6/10

Released in 1955, "The Kentuckian" is one of only a couple films directed by Burt Lancaster.

THE STORY takes place during the presidency of James Monroe circa 1820. Lancaster plays Eli Wakefield, a Kentuckian who desires more room to breath in Texas. Still in Kentucky, they blow their "Texas money" on freeing a beautiful indentured servant, Hannah (Dianne Foster). They don't get past the next frontier town where Eli takes up with his brother in the tobacco business and Hannah gets a job as a bar matron. Eli's dreams of Texas are sidetracked when he meets up with a schoolmarm (Diana Lynn) who encourages him to settle down and make a family with her. The problem is that Eli's son prefers Hannah and doesn't want to give up their Texas dream. Meanwhile feuders are hot on Eli's trail, not to mention malevolent local businessman with a whip (Walter Matthau).

Some highlights include:

• Lush Eastern locations. The film was shot in Levi Jackson State Park, Kentucky (near London), as well as Owensboro, Kentucky, which is on the Ohio River, and Rockport, which is just across the river in Indiana. The river depicted in the film is supposed to be the Tennessee River (I think), but it was shot on the Ohio. In any event, although "The Kentuckian" is classified as a Western, it's actually an Eastern.

• The film offers a good glimpse of what the Eastern USA was like back when it was still a frontier -- the cabin-styled houses, sleeping in the woods, etc. No internet, cable, video games, DVDs or microwaves. People actually sat down with other people and communed.

• The story is realistic, albeit with some lame dialogue. Regardless,you don't have to worry about any goofiness or unbelievable bits that plague some 50's Westerns, except for the too-wooden-they're-funny feudalists.

• Back then a huge riverboat coming to town was an exciting attraction. Americans today, by contrast, get all excited over the shenanigans of some celebrity.

• Dianne Foster (Hannah) is a beautiful redhead. One wonders how a woman like this would stay single very long on the frontier.

• The whip fight with Matthau is great. Lancaster is almost whipped to shreds (!).

• Loyalty is a sub-theme here. Eli's son is loyal to Hannah and never warms up to the schoolmarm, although there's it's clear that there's nothing wrong with the latter. And Hannah is loyal to the man who delivered her from bondage (Eli), despite his infatuation with the marm.

• I liked the bit on Eli being a laughing stock because of a worthless freshwater pearl, but he gets the last laugh with a letter from the President (or is it?) and additional help.

• Lastly, Lancaster is a likable protagonist with his charismatic joy-of-living persona; he's humble and respectful, the antithesis of Eastwood's amoral and lifeless 'man with no name' a decade later.

The film runs an hour and 44 minutes.

BOTTOM LINE: "The Kentuckian" is breath of fresh air and I enjoyed it from beginning to end for all the above reasons; it's sort of like "The Last of the Mohicans" (1992) of its era, albeit no where as good. It's innocuous and easy-going, but sometimes surprisingly brutal (the dog fight and whip fight). If you can acclimate to the style of filmmaking of the mid-50s it's worth checking out.

GRADE: B