Fiebre de sangre

There are a handful of western films that have immersed me in the story and the characters so effectively that I never grow tired of viewing them. Even though I may have seen the film fifty times or more, I get so involved in the film that I hope that one plot element will change and the story will have a different ending. Those films are: "High Noon", "Shane", "The Shootist" and "The Gunfighter".

It was Peck's idea for Jimmy Ringo to have a mustache--to Fox studio head Darryl Zanuck's disgust. Zanuck thought that moviegoers liked to see a clean-shaven Peck. The picture was not a box office success at the time, but it ranks among the Top 10 western films of all time in my book.

Meet the western, deglamorized: gunslinging makes you feel guilty, your ex is a prudish school teacher too hung up on your trail of corpses to see you, the town where you've decamped is filled with half-witted bums, puritans, celebrity-gazers and a most unlikely marshal, and somewhere on your trail are three brothers of the dead smart ass who drew on you in the last town. Jesus, do you need a whiskey.

No ordinary genre film, "The Gunfighter" (1950) is both a hugely satisfying entertainment and a conventional studio film with surprising depths. The surprise comes from the nature of the western in the mid-century where, with few exceptions, the black-and-white morality plays are as plain as the gunfire. Not so here, where we get the treat of seeing Gregory Peck play an antihero who has stepped far outside of conventional morality and now wants readmission, even though the bloodstains won't wash out. Welcome to Ambiguiety Gulch.

It's tempting to say that "Gunfighter" looks forward to the spaghetti western, especially in its themes of alienation and social revulsion. Frankly, though, it feels less like a western and more like a film noir. The feeling of claustrophobia is always near, whether in Peck's fear of another violent summons or in subplots involving the closeted desires of various townspeople to kill him (one gritty sequence in a boarding room is more unsettling than anything in Hawks or Ford). Surfaces are untrustworthy, motivations questionable, psychological derangement hovers in the wings, the "law" is both more and less than it appears, and as characters make startling pacts with their bloody pasts you can almost sense the triumphalism of the post-war years turning to anxiety and dread.

I chanced upon the DVD of this movie at the local library and decided to check it out, as having already previously watched Peck in other Westerns like "The Bravados", "The Big Country" & "Mackenna's Gold". In all these films, he appears to me to be playing the same kind of role - a reserved character whose behavior is atypical to those around him which manages to garner him unwelcome attention. Here in "The Gunfighter", he plays Jimmie Ringo - a tribute to the Johnny Ringo character, perhaps? - a dead-hand gunslinger with 15 kills to his credit (or discredit, whichever way you look at it), who wishes to put the past behind him and to be left alone and start a life anew in peaceful obscurity, but is hounded everywhere by would-be wannabe Billy the Kids who are vying for the "honor" and "distinction" of having shot him. Reminds me of the movie "The Shootist" starring John Wayne, which has basically an identical plot. Technically speaking, Ringo is an outlaw to be feared by the general public, yet one can't help but take sides with him and empathize with his situation. Serendipity takes him to a town where the Marshal turns out to be his ex-compatriot in crime and the bartender knows him from elsewhere but feels nothing but admiration for his past exploits and both do everything they can to help him, much to the dismay and annoyance of the townspeople especially the Ladies Committee made up of self-righteous biddies.

I understand that this movie did not do too well at the box office but great films are not necessarily big money-earners, and vice-versa. This is one Western which is, like the roles Gregory Peck plays in films of such genre, is atypical in that the emphasis is more on the study of central character and his inner self rather than his deeds. The only flaw I found was the lack of a proper movie score especially for some of the more tense scenes like the confrontation with the 3 cowboys, which would have highlighted the moments. Otherwise, a great film in my opinion.

This film was made during the peak years of "Film Noir". Although it is almost incongruous to place the western film into that genre, "The Gunfighter" comes close to meeting the criteria.

It is a deep dark western devoid of gunplay(until the conclusion)highlighted by a marvelous portrait painted by Gregory Peck as Jimmy Ringo, the gunfighter, trying to escape his past.

Ringo in his younger days was one of the "fastest guns in the west" who has survived to reach middle age. As he has matured he realizes you can't change what has happened.

Everywhere Ringo goes he is perceived as the "the fastest gun in the west" and everywhere he stops there is some young gun who wants to prove he is faster than the great Ringo. In fact when Ringo stops in a dusty town, he is being pursued by three brothers of his latest victim seeking revenge.

Ringo's arrival in this town is more than just co-incidence. We learn that the sheriff (what a performance by Millard Mitchell) used to run with the Ringo gang, the saloon singer was married to Ringo's best friend, and most importantly, Ringo's wife and son live there.

The bulk of the story is spent waiting to see if Ringo who lives by his wits as well as his guns, can survive.

The acting is uniform with Karl Malden as the saloon keeper and Skip Homeier standing alongside Peck of Mitchell for acting cudos

The script by Bill Bowers is taught and suspenseful. Henry King's in his second of 5 films with Peck(their previous collaboration was "Twelve O'Clock High") brings out the essence of a tired lonely tragic man without using any tricks(In fact there is no music except for the opening titles.

If you're looking for a shoot-em-up you won't find it here. If what you want is a top flight adult western, well pardner you've come to the right film.

The Western is not my favorite genre. I've seen some of John Ford's classics and many B-Westerns. Of most I can't even remember the titles, but this one is different. It's much more a psychological study, without the grand landscapes, backgrounds or epic story lines. If John Ford's splendid cinematography is not for you, this one cuts back to the basics of human relationships, without the epic adventure many Westerns try to depict.

This film is skimmed down to an absolute minimum with Gregory Peck as Jimmy Ringo, notorious killer and the deadliest shot in the Old West. Though his appetite for bloodletting is over, Ringo is forced to stay on the run from young ambitious gunners determined to shoot him down. After killing an upstart in self-defense, he escapes to the nearby town of Caynenne. There, he hopes to convince his estranged wife (Helen Westcott) to resume their life together, but his arrival causes a sensation. With more young bucks gunning for him, Ringo's fate lies in the hands of the sheriff (Millard Mitchell), his old bandit partner.

With this film the old credo, "less is more", is evident. No great showdowns, not much action, just Gregory Peck in a great character study with carefully built-up tension. He never let me down, giving a fantastic performance, again.

Camera Obscura --- 9/10