The Ox-Bow Incident

The Ox-Bow Incident isn't a very well known cinema classic, and therefore it's fan base is comprised mostly of cinema buffs that are willing to go that extra mile to see great films. It's a shame that this film hasn't managed to cement itself better in cinema history since it's release in 1943, but on the other hand; anyone who does make the effort to seek it out is definitely in for a treat! Unlike many other westerns from the golden age of cinema, this one doesn't focus on Cowboys and Indians or other such entertainment friendly subjects, but instead the story is of a much more absorbing and long-lasting nature. The implications of this film can be applied to almost any time in history and it will be relevant, and that is what makes The Ox-Bow Incident such a great film. The story follows two drifters who ride into a town to find that the locals are forming a posse to catch and hang the men that they believe have murdered a local farmer and stolen his cattle. It quickly becomes apparent that the men accused may not be guilty, but the townsfolk are bloodthirsty and hungry to see justice done there and then.

The themes in the film are more prevalent and important than the plot itself. The film shows how rash decisions can out-shadow the truth, and this story can be likened to any number of stories over the last few centuries where the American value of 'innocent until proved guilty' has been overshadowed in favour of a crowd-pleasing decision. The tragedy of the film is always at the forefront, and this makes it difficult to aptly categorise this film as a western. Putting this film in with a genre of film that often focuses on gunfights and chase sequences somehow doesn't seem right. This film is really an ensemble drama, and in just a 72 minute running time, director William A. Wellman has managed to make a film that both intrigues and gives it's audience food for thought. Too many filmmakers these days think that a long running time is what makes a great film; but Wellman has proved that tight plotting and an important story are the far more important aspects. Henry Fonda is the biggest name on the cast list, and he does well; but even he struggles to shine amongst this film's real star, which is, of course, the script and the themes on offer. On the whole, this is a great film, which deserves more respect and shouldn't be missed by anyone!

It is said frequently that psychological or "adult" westerns -less action and more substance in the plots- appeared in the early 50's with films like "The Gunfighter" or "High Noon". However in my opinion, the "Ox-Bow Incident", of 1943, was the first real "adult western (the previous "Stagecoach", though an excellent product in the genre, still maintains the original standards).

Director William Wellman obtains here a fantastic grey and sort of sordid atmosphere to display a story of men taking justice by their own hand and making an unrepairable mistake. The final sequence at the saloon when Henry Fonda reads in a loud voice the letter to his wife left by one of the innocent men hanged is most disturbing but at the same time rewarding for us viewers who get the feeling that justice has been done: the executioners will have to live with their terrible crime in their consciences for the rest of their lives.

Fonda and Andrews are very good in their parts and the supporting cast is excellent mainly with the always accurate Jane Darwell and a young Anthony Quinn.

"The Ox-Bow Incident" stands as a little classic among westerns, or dramas if you prefer.

Wellman touches on so many social concepts in this film, that it is necessary to view it multiple times to understand all the complex interactions between the characters. Whether it is racial, generational, or the examination of peer pressure and mob mentality, this film covers the entire spectrum of bestial, vs. human behavior in people from widely different points of view and reference. As a father, I felt terrible pain for the character portrayed by Dana Andrews. His poignant portrayal of someone in the wrong place, at the wrong time, is heart-wrenching. I was also touched by the brief appearances of the sole black character in the film, who knew better than any of the protagonist's what the real significance of lynching forebode.

When I first saw this film, I couldn't get it out of my head. Three men are executed by vigilante justice, put forth by a bigoted, but respected man. I couldn't help but put myself in the place of those men, trying to logically remove myself from the the grasp of these people. There is no reason to hurry the verdict. It is about people who get caught up in a mob mentality and give up their common sense and integrity for expediency. The hard thing is that there is nothing anyone can do to right this. There is no bring people back to life. About all we can determine is that these men will have to live with this decision for the rest of their lives. The problem with mob rule, is that they all have excuses for their actions. I thought. I thought. I thought. See this film but be prepared to think about it for a long time.

An excellent movie that avoid the western cliché, bringing a Theatrical Drama about reason, justice and piety.

Everything works perfectly, in terms of sound, ambiance and plot. Exception made by the role of Mary Beth Hughes. The protagonist's frustrated romance does'nt add nothing relevant to presents Gil Carter's personality.

The letter reading scene is absolutelly beautiful and very meaningful, totally worth the movie. This Western deserves more recognition from the overall public.