El placer de la venganza

As often throughout his long-running career, urbane Wales born Ray Milland takes on a role that seems on the surface atypical for his native skills, in this instance as Johnny Carter, a vaudeville trick shot artist who was formerly Colonel Desmond, a Confederate Army hero, now coming to the postwar West in search of financial profit and romantic adventure. Although the war is past, Desmond's ability as a military leader is sought by a group of ex-Confederate soldiers, now employed at copper mining, and needful of tactical shelter from a corrupt combine composed of former Union soldiers and mercenary lawmen that does not stop short of murder in preventing the Southerners from transporting their ore to be smelted. Desmond is reluctant to become involved in this affray and we learn that he is sought for the theft of $20000 which he took from the commandant's office in a Union prison camp upon his escape from that establishment, and is therefore determined to hide his true identity within his posture as Carter the entertainer. Through married complexities in the scenario, Desmond is convinced that he should assist his former compatriots and this gives Milland an opportunity to become engaged in a series of highly kinetic adventures involving riding, shooting and, in general, making of himself a nuisance to the villains of this cinematic western romp. On the distaff side, an extraordinarily beautiful Hedy Lamarr is impressive in an ambiguous role as an adventuress from New Orleans who may or may not be allied with the forces of evil, and there are fine portrayals by Mona Freeman, Peggy Knudsen, and giantess Hope Emerson as a dance proprietress. The cast is strengthened by Macdonald Carey as the primary villain of the piece, and he dominates virtually every scene that he is in, and there are solid performances from James Burke, impish Percy Kelton, and Harry Carey, Jr. as a Union officer in love with Caroline Desmond (Freeman), daughter of the patriarch of the miners. Filmed in Technicolor, COPPER CANYON is easy upon the eyes, and the post of director is capably filled by John Farrow, who deals nicely with an overabundance of subplots, yet who concentrates upon those elements which will move the action along smartly, yet allow for development of character. Unfortunately, the production is heavily cut and there are some instances of ragged editing, with a result that the climax and weaving of loose ends is stunningly rushed, and what might have been a standout motion picture must remain at present a pleasant bagatelle of its genre.

I like Copper Canyon, it's one of my favorite westerns. Admittedly the plot is somewhat convoluted and the acting, although competent, is not outstanding. I think I mainly like the cast. Hedy Lamarr is gorgeous -- as usual -- Mona Freeman was one of Hollywood's prettiest blondes, and Ray Milland is the suave, dashing hero. At the time it was made, Copper Canyon was just one of many westerns ground out during Hollywood's Golden Age, although a bit more stylish than most. But, like most Golden Age movies, it's fun to watch -- which I can't say about most movies made these days.

Hedy Lamarr decided to go west following in the footsteps of Marlene Dietrich who saw Destry Rides Again rejuvenate her career. I'm sure that was why she decided to do Copper Canyon where she was saloon girl villainess who falls big time for fancy sharp shooter Ray Milland who brings his trick shot act into her town and saloon.

Milland arouses the jealousy of crooked sheriff Macdonald Carey. But Milland has a past of his own. He's a former Confederate colonel who robbed a Yankee payroll in escaping before the war ended. He's a hunted man for that reason though the local hunter, army lieutenant Harry Carey, Jr. really hasn't got his heart in the job.

Milland's been sent for because the local copper mine smelter with the connivance of Carey has been exploiting the Confederate veterans. His prowess with weapons comes in mighty handy before the film is over.

It's a good, not great western, but the reason it became popular because of the title tune which is heard, but not sung in the soundtrack. Young Teresa Brewer had a hit record of it back in the day.

Copper Canyon didn't really give Hedy Lamarr the Dietrich like assist in her career. Still she does fine and it's a good Saturday afternoon film for enjoyment.

Plot-- An ex-Confederate officer turned trick-shot artist is enlisted by townsfolk looking to get their copper ore past a crooked sheriff and his men. At the same time, he has to deal with a glamorous saloon girl whose allegiance sort of wobbles.

When I think westerns, LaMarr and Milland don't come readily to mind. Here they're just okay, though I'm sure their names looked good on the marquee. Though Milland can project grit, he's too laid-back (unmotivated?) here to anchor an action movie. He's better when he's just a smooth trick-shot artist. Then too, LaMarr projects a lot more beauty than the emotion needed for her tricky role. Her part unfortunately calls for a stronger, more Stanwyck-type personality, as others point out. Nonetheless, the production does have two things going for it. First is the great red rock scenery of Sedona, AZ, familiar from a hundred other big budget oaters, but well- staged and photographed here. Second is Macdonald Carey who delivers much needed spark and energy as the conniving bad guy. Then too, no film that includes exotica like the gnomish Percy Helton (Scamper) or the amazonian Hope Emerson (Ma Tarbet) can afford to be overlooked.

Anyway, the movie's a decent time-passer, but lacks the tightness and force needed to really register.

Ray Milland gives an excellent performance to lift this above most of the Westerns of the period. Milland often lifted movies with his generally laid back style and occasional moments of striking intensity. One thinks of "Dial M for Murder," "X, the Man with X-ray eyes," "Love Story," and his appearances on "Columbo." He is like a great singer who knows you only have to hit a few striking notes to make a memorable song.

His character, Johnny Carter, is a gentle, humorous, trick shooter and vaudeville performer who dislikes violence and enjoys women. The character foreshadows the wonderful gambler, Maverick, that James Gardner would make famous seven or eight years later. Milland has the roguish charm of Cary Grant and a little of the blushing modesty of George Reeve.

Hedy Lamarr doesn't come off quite as well. This movie was two years after her hit movie "Samson and Delilah," She brings only a little of Delilah's sexiness to her role. At moments she does foreshadow Joan Crawford in "Johnny Guitar," but unfortunately there's not enough for her to create a memorable character as Crawford did in that role.

Macdonald Carey shines as a sheriff who abuses his power and gives law and order a bad name. He is not as psychotic as Jack Palance in "Shane," but he does stoop to shooting men in the back and refusing to fight fair.

As others have noted, the Technicolor is good and the movie is pretty fast paced, with enough plot twists and action sequences to hold our attention. Fans of Westerns should enjoy it and fans of acting should appreciate Milland's delightful performance.