Furia maldita

Highly watchable Western based on a story by Thomas Thompson with screenplay by the prestigious Rod Serling ; dealing with confrontation between family members and about fights between cattlemen and homesteaders . The picture gets action Western , shootouts , wonderful outdoors and turns out to be quite entertaining with amazing visual style . This interesting movie is set in post-Civil War ; it features Steve Sinclair (Robert Taylor) , a world a world-weary , prior gunfighter , now living as a peaceful farmer , his wild younger brother Tony (John Cassavetes) , and a previous dance hall girl , Joan Blake , (Julie London) , masquerading as a lady . Tony meets the cabaret girl Joan and impulsively to marry her , returning to run the family ranch . Then , things go awry when Tony arrives on the scene with his new bride Joan Blake . Everyone there is enchanted with Joan ; however , when some settlers (Royal Dano) appear , events go wrong .

Agreeable Western packs drama about sibling squabbles , thrills , shootouts , go riding and some moving action sequences . It's a medium budget film with good actors , technicians , production values and pleasing results . In this case family feuds make for a really thrilling film , as it contains a thoughtful and thought-provoking script regarding to the ranch scenarios , adding ranchers confrontations , joining Western with melodrama . As well as making full of sense , intense drama and intelligence . ¨Saddle the wind¨ was hardly received its fair due and panned by some critics , as Western genre being past their peak of popularity . And the final is poignantly as well as dynamically unexpected , including an exciting duel . Good performances from Robert Taylor as obstinate ex-gunslinger , this is the best movie of Taylor's later work ; John Cassavetes as reckless as well as nutty young brother who gives a mannered but intelligent acting and Julie London as his bride who bears a dark past . Julie London catches the eye carrying out an imaginative and gorgeous acting ; besides , playing an attractive song . Large plethora of secondaries , such as Charles McGraw , Royal Dano , Richard Erdman , Ray Teal and special mention for Donald Crisp as old patriarch baron land . Colorful and glimmer cinematography by George J. Folsey , being magnificently illuminated in Cinemascope and Metrocolor , setting itself against the marvelous backdrop of the Colorado Rockies , actually filmed on location in Rosita , Colorado . Evocative as well as atmospheric musical score by the great Elmer Bernstein , along with a catching song at the beginning composed by Jay Livingstone . However , a first soundtrack was written and recorded by Jeff Alexander but had to be replaced due to extensive re-cutting .

The motion picture was professionally directed in sure visual eye by Robert Parrish providing an abundance of noisy acting , color and stirring happenings . Among his best received works was this brooding western ¨Saddle the Wind¨ (1958) . He was an Academy Award-winning film editor who also realized and acted in movies . Parrish was soon working on some of Hollywood's most prestigious films, cementing his reputation as one of the America's premier editors . Unfortunately, while many of his directorial efforts were visually impressive ,especially his war drama , ¨The Purple Plain¨ , his labour as editor was excellent . As an editor he won an Academy Award for Body and soul (1947), the 1947 Robert Rossen film that starred John Garfield as a money-grubbing, two-timing boxer on the make . Parrish also worked on All the King's Men (1949), an account of the rise and fall of a Louisiana politician that won the Academy Award for Best Picture . Parrish then moved on to direct films during the 1950s and 1960s . He realized a variety films of all kind of genres , such as melodrama : ¨Fire down below¨ , comedy : ¨The Bobo¨ , parody : ¨Casino Royale¨ , a Noir film titled ¨Cry danger¨ , a Sci-Fi picture titled ¨Journey to the far side of the sun¨ , a thriller titled ¨The Marseille Contract¨ or ¨The Destructors¨ and another strange Western called ¨A town called Bastard¨. And of course , ¨Saddle the wind¨¨ resulted to be one of his best films .

Steve Sinclair is an ex-gunfighter now contented with his lot as a peaceful farmer. His peace that is disrupted when his young brother, Tony, turns up with his intended new bride in tow. Tony has a thirst for gun play, and when he guns down a fellow gunman in the bar, things start to rapidly spiral out of control for the Sinclair family.

Saddle The Wind has some top credentials coming with it. Written by one Rod Serling, and starring Robert Taylor and John Cassavetes as the Sinclair brothers, it's a film not short on quality. Into the mix is the splendid outdoor location work at Rosita, Colorado (courtesy of the prolific George J. Folsey) and the genre compliant score from Elmer Bernstein. But what of the film itself? Well the story is an over familiar one, gunfighter trying to leave his bad past behind (Steve was a one time member of Quantrill's Raiders), loose cannon youngster out to make a name for himself (Tony), and yes we get a female love interest causing conflict and confusion (Julie London in a stock and undemanding role). Yet in this instance familiarity definitely does not breed contempt.

If new comers to this film are aware of John Cassavetes and his style of acting, then, in spite of the oddity of seeing him in Western surroundings, one can reasonably know what to expect. Cassavetes brings the method to young Tony Sinclair, instilling intensity, even borderline mania into the upstart hot shot, so much so that Robert Taylor's fine world weary turn as Steve gets lost until the splendid finale.

To non Cassavetes fans it may be just too much to handle, but speaking personally I found it a terrific performance that lifts the picture way above average. Brilliant support comes in the form of Donald Crisp and Royal Dano (heart aching veteran of the Civil War) and the running time of under 90 minutes is just about right.

Finally, it's with the ending that "Saddle The Wind" breaks away from the standard genre story and plotting. Played out on a lush lilac flowered hillside, the makers deviate from an expected cop out and give us something memorable and totally fitting to this method driven Western. 8/10

The Sinclairs and the Deneens are two ranching families who share the open range in their remote western valley. Steve Sinclair is a fine, strong man who has put his gunslinging days behind him and is now a figure of rectitude and stability in the affairs of the valley. His younger brother Tony, however, is a hothead who is beginning to regard himself as a handy guy with a six-gun.

Robert Taylor plays Steve with manly, tight-lipped stoicism, contrasting markedly with John Cassavetes' Tony, a jumpy dynamo of attention-seeking energy. This thoughtful MGM western sets up a whole web of conflicts and tensions: there is the inevitable clash between the two brothers, the uneasy modus vivendi with Old Man Deneen, friction between ranchers and homesteaders, as the latter try to settle on the free range. When Tony returns from a trip to the city bringing with him the beautiful Joan (Julie London) as his bride-to-be, yet another source of conflict arises.

"Steve's gonna like you," Tony tells his new fiancee with unconscious irony, not knowing that it is Steve and Joan who will fall for each other. The romantic closeness between the saloon girl and the older man is never made explicit, but it is plain that they are destined to be a couple. The psychology of this tentative relationship is sensitively portrayed, for instance in the scene where Joan remarks, "I've seen reformed gunmen before." Steve reacts with a mixture of shame and hurt which tells us that he desires her good opinion.

Prefiguration is a stylistic leitmotif running through the film. Larry Venables refuses to have his saloon table cleared, and then later Tony prevents Manuelo from clearing another table. Deneen's young son was killed in a futile gunfight, an event which has impacted on the life of the whole valley, and we see the tragedy re-enacted as other men lose their lives needlessly. Tony and Dallas act out a playful 'mock' draw on the exact spot where Ellason is later gunned down.

A good deal of the film's psychological import is conveyed, not in dialogue, but through visual communication. Joan's reaction when Venables makes trouble in the saloon suggests that she knows the bad guy but is trying to conceal the fact. After the shooting, we see Tony fail the 'test', though nothing is ever said directly. Joan wants to be taken home, and Tony's immature decision to stay drinking with the boys signals the breaking-point of the relationship. Joan moves away from the group and sits alone. The ploughshare which is used for shooting practice symbolises the threat posed to wholesome farming life by irresponsible gunmen. Tony places his arm on Steve's shoulder, and Steve dislodges it with the subtlest of movements, showing the rift that is growing between the brothers, but which neither wishes to acknowledge. In the very next image, Hank tries to take the whiskey bottle away from Tony, but Tony clings to it, his pattern of destructive self-indulgence now well established. Once Deneen (the marvellous Donald Crisp) has decided to choke the range with wire fences, we see bales of barbed wire thrown down onto the ground with force. They glint harshly, their steely newness a hostile presence, harming the soil. When the brothers finally meet, we see each of them silently preparing his gun.

The scene in which Steve and Joan ride back from town is nicely done, with its change of tempo from hard anger to a quieter, more reflective mood. Steve shows himself to be a man of complex emotions beneath his stern facade.

The film is shot in Cinemascope and MGM's own colour process, Metrocolor. In the first scene, Venables menaces the bartenders in the saloon, a drab brown man in a drab brown setting. This is this creature's element. A very striking effect is achieved as the scene changes and we see the open range, the beautiful sunlit countryside contrasting powerfully with what has gone before. By the end of the film, the sage is in bloom, and the image of the young man dying on a brilliant purple carpet of natural luxuriance is almost unbearably poignant.

Elmer Bernstein was the Musical Director, and in his characteristically understated style he did his usual excellent job. By 1958 it was beginning to be ambarrassing for audiences to see a character breaking into song, but the restrained guitar accompaniment as Julie London croons the theme tune salvages this one from seeming too obtrusive.

Everybody is looking for his place in the world. Deneen dreams of establishing a paradise where violence is unknown, and Steve is striving to be a good rancher and to live down his past. Tony wants to make a name for himself, while Joan is hoping to escape the squalor of her earlier years. Venables wants the kudos of having killed Steve Sinclair, and Ellason is yearning for the homestead of his dreams. Some achieve their persoanl nirvana, but most don't. The film's message is that violence and confrontation don't move anybody forward in life.

This is worth a watch if you are a fan of the more adult-themed westerns of the 1950s. But whose bright idea was it to put Cassavetes in a movie like this? It's a helluva weird choice. His acting style is so different from that of his co-star Robert Taylor that the film barely holds together.

To his credit, Cassavetes shoots for veracity, for a naturalism that brings humanity to a character that could've easily become a cardboard cutout of a psycho. In some ways, he is elevating the worn out clichés of the script, bringing some real life to them. But other aspects of his performance are flat absurd. For example, he periodically attempts some sort of ridiculous "western" accent, then just as quickly he'll drop it; sometimes this happens within a single line of dialog. You can take the boy out of Brooklyn, but you can't take the Brooklyn out of the boy, and I never bought for an instant that he was a tough western ranch kid with lingering Confederate sympathies. And his mood swings, as he goes rapidly from giggling to brooding, are hyper and overdone.

Meanwhile, Taylor is all classic Hollywood "strong & silent type" understatement, bordering on wooden and inexpressive. Their scenes together are oil and water. It brought me out of the story, into awareness that I was watching two actors who shouldn't be sharing the stage together. Their aesthetics are just too different.

In the plus column, supporting character actor Royal Dano is amazing in this movie, utterly convincing as a squatter with lingering Civil War resentments and a legal claim on a piece of land that puts him in direct conflict with the area ranchers. There are some brutal, squirm-inducing, standout scenes where Cassavetes terrorizes Dano. These are really subversive in a way, as Cassavetes' character takes on a role usually reserved for Indians, nameless "Others" who are utterly inhuman and dispensable.

I was also pleasantly surprised at Julie London's performance. She has a few key scenes early in the film and does a fine job, but she's underutilized; her character is sketched quickly, then left underdeveloped as her story thread is largely dropped.

Overall, this could've been a lot better, but it holds some interest for those with a particular love for the sub-genre. And Cassavetes fans will find much to like about his performance, at least for curiosity's sake.

As he got older Robert Taylor got cast in more and more westerns as did so many of his contemporary stars. His first western was in 1941 as Billy the Kid and had Taylor had his way, he would have done a lot more of them sooner. He lived on a ranch in his later years with his second wife Ursula Thiess and their kids and he definitely looked home on the range.

He plays an older and wiser gunfighter like Gregory Peck's character of the film of the same name who would like to settle down and with the help of Donald Crisp, the big cattle ranch owner in the valley where Taylor owns his spread, he's trying to make an honest living.

The problem is that Taylor has a younger brother, a wild kid played by John Cassavetes, who wants to emulate his brother or at least the older version of his brother. And he causes a great deal of problems before the end of the film.

Cassavetes has an interesting part. He could have played it just like Skip Homeier did in The Gunfighter, a punk without any redeeming qualities. But he has to convey enough of a sense of decency so that we understand why Taylor just won't give up on him. I think he succeeds admirably.

The most interesting best of the supporting roles belongs to Royal Dano. He's a bitter, troubled man himself. His father owned a strip of land and abandoned it 20 years ago. Dano moves back on it and tries to assert his rights. In a situation that could probably be worked out either by men of good will or an honest court, neither is available. The result is tragedy all around. I think that this was probably Dano's best screen performance.

Taylor and Cassavetes offer an interesting contrast between a studio personality who learned to become a good actor and a New York based method actor. But that's not the only reason one should see Saddle the Wind. A good, but very grim western is the reason.