Johnny Guitare

Director Nicholas Ray and credited writer Philip Yordan, not to mention a few other writers drafted in to prevent a disenchanted Joan Crawford from walking off the set, have succeeded in transforming what Ray himself called a 'valueless novel' into what can only be described as an unique filmic experience.

It remains a load of nonsense of course but is elevated by Harry Stradling's cinematography, Ray's compositional sense and a strong cast. The contrast between the natural exteriors and the mannered art direction of the interiors is also very effective.

It has since been categorised by various academics as a 'feminist' film. Looking at the mannish, gun-toting Vienna of Joan Crawford and the sexually repressed, vengeance-seeking Emma of Mercedes McCambridge, I consider that label to be totally inapt. Both artistes are marvellous in their roles however and the most has been made of Miss Crawford's wonderfully expressive eyes but it is the demented performance by the immensely talented Miss McCambridge that provides the film's core.

That core should really have been provided by the relationship between Vienna and the title character but this is alas something of a damp squib. Although Sterling Hayden's presence is undeniable he again has the look of a reluctant performer who'd prefer to be elsewhere.

Strong support from Ward Bond whilst Ernest Borgnine impresses once more as a Neanderthal nitwit. Veteran John Carradine does his best with the underwritten role of Old Tom and the role of Dancin' Kid represents Scott Brady's finest hour, although that would not be difficult.

Although it has become a must for Ray cultists the film had a mixed reception as it was not the full-blown Western that film goers expected in the Hollywood of the 1950's. It was very much appreciated by the French who probably did not class it as a Western at all and it received the seal of approval from the New Ripple brigade.

Westerns have often been called 'horse operas' and they don't come much more operatic than this one. Mr. Ray hit the nail on the head when later referring to his film as 'baroque, very baroque.'

Surely this allegorical western influenced Clint Eastwood when he directed his "Pale Rider" and "High Plains Drifter," though I've never read where he has mentioned it. There are certainly similarities, especially with "High Plains Drifter." The brilliant director Nicholas Ray who threw so much of himself and his search for artistic expression on film into his works at times carries the allegory too far. Good allegory, such as "Moby Dick" and "Huckleberry Finn," must never become too obvious. It then descends into mere cleverness and creative arrogance. The posse from Hell dressed in black led by a perverted Joan of Arc doesn't leave much to the viewer's imagination. Except for a few such parts, most of the movie purports itself well and tells an effective story that can be interpreted on several different levels.

Mercedes McCambridge playing the demonic sexually repressed Emma Small (again the name makes it too easy for the viewer) stands tall amongst a cast of giants. That her voice would be used for the devil's own in "The Exorcist" is understandable for it crackles with fire and brimstone. Jealousy and rejection guide in her determination, nay obsession, to destroy both her sexual rival Vienna and her unrequited love the Dancin' Kid. Sterling Hayden plays the lead character Johnny Logan aka Guitar to perfection. Hayden was not only under-appreciated by the Hollywood moguls but even by himself. In interviews he always trashed his acting talents in much the same way Robert Mitchum tended to do his own. He maintained he was just doing a job that he didn't like very much. In reality Hayden was one of the best performers of his generation as was also true of Mitchum. Joan Crawford who was often miscast finds her niche in "Johnny Guitar." As her roulette spinner says to the camera,"She's more of a man than a woman." She is in control at all times even when there's a rope around her neck. She tells Johnny Guitar when to play his instrument and The Dancin' Kid when to dance. She even holds the posse from Hell at bay until Emma Small steps in. Emma is also a woman in control but only of external forces. Inside, her emotions, fears, and frustrations dominate.

Ernest Borgnine was still playing bullies, which he did so well, at this point in his career. Royal Dano the consumptive gang member always true to The Dancin' Kid gives his usual fine performance. Veteran actor John Carradine appears in somewhat of a different type role than usual as the loyal caretaker for Vienna. One part hearkens back to his best screen portrayal as Preacher Casy in "The Grapes of Wrath" when he tells Vienna that he'll hide young Turkey out in the cottonwoods so the posse can't find him. Nicolas Ray aided young aspiring actors with ability by showcasing their talents in his films. He introduced Dennis Hopper who has an uncredited bit part in "Johnny Guitar." Later Hopper would appear in Ray's "Rebel Without a Cause" with James Dean, Natalie Wood, and Sal Mineo. Look for two other faces that were mainstays of the cinema Sheb Wooley ("High Noon"--he also wrote and recorded "The Purple People Eater")and Denver Pyle ("Bonnie and Clyde," "The Dukes of Hazzard"). There's also the inimitable Ward Bond who could always be counted on to give a good performance.

Any show that starts out with a mountain being blown to pieces, a sand storm of Herculean proportions, and a stage coach holdup can be counted on to deliver the goods. The story about a railroad coming through to change the community takes second place to all the other storms and whirlwinds involving jealousy, greed, and murder. Emma and the posse from Hell are not just on a private vendetta. They are also trying to stop progress that threatens their very way of life. Railroads bring new people, new ideas, and new ways of making a living. Those who benefit from change like it. Those who are hurt by change fight against it with all their might. These forces mix with personal ones to make "Johnny Guitar" one of the best westerns ever. It's not to be missed.

The music for "Johnny Guitar" is a definite plus. Peggy Lee sings the title song, which she helped compose with Victor Young, at the end of the movie as no one else could. She had a sultry blues voice with great feeling and emotion. Oft times she is dismissed as a mere pop singer from the 40's and 50's. Peggy Lee was much more. She was one of the great voices for her era. I couldn't find information about who actually played guitar for Sterling Hayden. The picking is flawless. The closest I've come is the name Howard Roberts, who was the jazz guitarist that backed Peggy Lee on her later hit "Fever." I've read that he could play anything on any type guitar. The dance song picked by Johnny Guitar that inspired The Dancin' Kid to dance with Emma was "Ol' Joe Clark," a folk ditty, usually played on the fiddle, that was popular during the time period thus adding authenticity to the show.

Weird and hysterical Western with Freudian touches , dreamlike emotionalism and magnificent dialogue in which is blended domination, humiliation and a deadly confrontation ; resulting to be a fascinating and melodramatic film .The ex-prostitute Vienna (Joan Crawford) , a Gambling Saloon keeper, has built a saloon outside of town, and she wishes to make her own way once the railroad is put through, but the villagers want her run out of town and some of them hanged . Meanwhile the stagecoach is attacked and four men , Dancin' Kid (Scott Brady) and his hoodlums( Brian Cooper, Ernest Borgnine, Royal Dano) come to the saloon . Righteous Vienna stands strong against them, and is aided by the appearance of a gun-toting old flame of hers, Johnny Guitar (Sterling Hayden), who is not what he seems. As Vienna can't drive Guitar out of her head . Meantime the officials (Frank Ferguson , War Bond) pursue the group led by Dancin' Kid and besiege their booth and occurs a lynch mobs . At the ending takes place a long-expected shootout between the two-fisted enemies averted by a woman's insistence.

Love and hate are woven into two protagonists , the fallen angel Joan Crawford and the spinster landowner Mercedes McCambridge ; both of them share a mythical confrontation . Exceptional performances by all casting as top-notch Joan Crawford as gutsy matriarch squabbling over two men , Sterling Hayden as pacifist saddle-tramp who turns a psychopathic temper taking up his pistols and Mercedes McCambridge as nasty and vengeful harpy . Sensational plethora of secondaries as John Carradine , Paul Fix , Rys Williams , among others. Colorful cinematography with a symbolist use in Trucolor by Harry Stradling. Classic and immortal musical score by Victor Young , including unforgettable songs by Peggy Lee . This hypnotic Western with symbolism rampant is marvelously directed by Nicholas Ray , author of various master pieces and hits as Rebel without cause , 55 days at Pekin and many others . Rating : Very good , exceptional and indispensable seeing . Two thumbs up

Johnny Guitar is a gender drama with obsessive personalities flirting with dementia: the character played by Mercedes McCambridge is unmistakably the main baddie, but Joan Crawford's character is not completely pleasant, grimacing as she does through much of the movie. Vienna's own sexually linked psychological fixation influences her in correspondingly curious digressions; she dresses thoroughly in white in a climactic scene where she must confront McCambridge, who dresses in black for most of the film. The men dramatically defer to the powerful determination and identities of these two women. Sterling Hayden as the eponymous hero is something less of a hero on account of Crawford's compulsion. The fact that he plays a guitar and travels without a gun gives a hint to the devalorizing of the Western hero boilerplate inferred by the title. He's a subordinate character, given to hesitation. He's mainly a bystander: His catchphrase is "I'm a stranger here myself," which can also characterize Nicholas Ray here himself.

The other male principals also take a subordinate role to the women; none of the posse, not even McIvers, its suggested chief, can bring himself to refuse McCambridge's Emma, even when lives depend on it. The Dancin' Kid makes several crucial choices, including the robbing of a bank, based on whether or not Vienna will go on reciprocating his sentiments rather than leaving him for Johnny. Johnny and the Kid are both atypically tender cowboys in contrast with the icons of the time, together with the basis that each has a creative craft that's part of his name, and that both in most cases allow the female characters to make the choices and are inclined to comply with them.

Scorsese has talked about the great theme-smugglers of the studio era who snuck subversive elements past the scrutiny of the censors. This is definitely true and admirable, but sometimes I'm baffled at what must've been functional retardation on the part of Hayes' puritan committee. This 1954 Freudian Western is one of the record out-of-the-blue phenomenons of the studio system, a film so insubordinate it's a miracle it ever got made. But despite its genre, this is a gentle, thin-skinned film, Ray's tenderest avowal of his outsider theme.

As with Ray's In a Lonely Place, On Dangerous Ground and Bitter Victory, characters come across truths that they don't want to admit to themselves or others, and sometimes this information is obvious to those around them first. He uses innuendo as a way to deal with plot developments that can't be externalized, or those that haven't come to pass yet. The characters are rounded out through teasing, accusation, high emotion.

Ray, known for his dramatic use of architecture, was keen on the meanings of the horizontal line, which serves a western particularly well. The first and second halves of the film have different visual styles. But both sections feature extensive panning. The second half features brilliant landscape photography, as Ray's camera pans over snow-covered mountain roads and trails. These sections are unusual in that they don't feature wilderness areas. Instead, these scenes always have human habitations in them: roads, farmhouses, paths, and other human constructions. They can be described as rural, or as tourist areas: the sort of remote but inhabited location one might go to on vacation. Such locales rarely pop up in movies. Westerns, which feature vast landscapes, tend to have wilderness areas without modern buildings. And contemporary films rarely go to such poverty stricken tourist spots, preferring resort and wilderness areas with more glamour.

However, no matter what intellectual appreciation movie buffs and film scholars and critics have for it, it's impossible to deny its utterly ham-fisted acting and soapy plot strands, all approaching out-and-out kitsch. I've seen a good deal of westerns with more understated, salt-of-the-earth acting that brought me closer to the grit inherent to its environment. This is the diametric opposite of being one of them. Did any of them have whiplash after a certain amount of takes? Why such intense about-faces and comic-book demeanor? Was Douglas Sirk on set? After awhile, I gave up on the performances. Their imaginations don't seem engaged. They pretend self-consciously. They're stiff, tightly wound. They never let go. And though Crawford is never uninteresting or by any means bad in any film in which I see her, I feel she should've been told as much as necessary that acting is not a competition, that everything must be done for the good of the film or everybody else is put at risk. But she's not the only one who showboats here; everybody does. Despite a cast of performers that tend to intrigue me, the two females, Hayden, Ernest Borgnine, I could only rely on Ray's building of tension through montage and his marshaling of the plot to keep me engaged. Nevertheless, Johnny Guitar is a certain kind of film that has upheld its rank by repositioning itself every decade since its release.

I'm not a big fan of Westerns. I just find a sameness to them that I can't get over. I had read that this was interesting. It was. First of all, the two protagonists are women. Joan Crawford, hanging on to her saloon, waiting for the arrival of the railroad, and Mercedes McCambridge, looking absolutely possessed, getting every man in town to follow her to the point of hanging people. Then there's Sterling Hayden, Jack Ripper from Dr. Strangelove, a puzzling character of great complexity, the gunfighter who can't stay out of the business. Add a few character actors and a relentless effort to ignite a fire and keep progress away, and you've got a really engaging film. It's obvious this was made with a higher budget, good camera work and some excellent settings. I'm sure someone has addressed all the symbols in the movie. Green dresses (envy), white dresses (purity), red dresses (time to kick butt). There are lots of scenes framed for effect as well. I recommend this film.