Sept hommes à abattre

Seven Men from Now is directed by Budd Boetticher and produced by John Wayne's Batjac Productions. Written by Burt Kennedy it stars Randolph Scott, Gail Russell & Lee Marvin. Music is by Henry Vars & William H. Clothier photographs out of Alabama Hills and Lone Pine, California.

Former Sheriff Ben Stride is on the trail of the seven men - who whilst robbing a Wells Fargo office - killed his wife in the process. Mentally tortured by having lost his job that resulted in his wife having to work at Wells Fargo, Stride is totally driven by hurt and anger. But along the way he helps a married couple who are stuck in the mud, who persuade Stride to ride West with them in case of further problems. They are then joined by a couple of suspect characters who have their own private agenda for tagging along with Stride - all parties seemingly heading for the day when the truth will out.

Director Budd Boetticher and leading Western star Randolph Scott made between 1956 and 1960, seven intoxicating and genre bending films. This was the first of their collaborations, and although it can be said they were merely honing their "Adult Western" bent here, all the traits that would make the upcoming The Tall T, Ride Lonesome and Comanche Station so worthy of genre classic status is evident here in this film. Though simple in plot - I mean man on a mission movies are not exactly rare are they? - Seven Men From Now is boosted by a smartly ambiguous turn from Lee Marvin as Bill Masters, while Boetticher's ability to raise his complex and hungry characters above and beyond the standard tale further gives the piece some kudos. Incidents dot themselves throughout the story to keep the film from ever drifting to the mundane, while the location captures are gorgeous, and this is where we should be thankful to cinematographer William H. Clothier for realising that Boetticher needs his vista to be another character in his play.

Originally intended as a vehicle for John Wayne, who took producing duties instead when his schedule wouldn't allow him the time to star, Seven Men From Now gave Randolph Scott a chance to show just what a fine actor he was. As the troubled Ben Stride he could so easily have played him as corny and grumpy, but Scott gives him the emotional depth that Burt Kennedy's script demands. Gail Russell (Annie Greer) is the lady of the piece, she ultimately led a sad real life, but at least here as the woman caught between two men, we get to see that she did have the ability when called upon - even if this didn't relaunch her career in the way that her friend John Wayne had originally hoped for. In fact Gail was to sadly succumb to the alcoholism that blighted her life just five years later, aged just 36. Thankfully this film stands up as a fine way to remember her beauty and for the efforts that she put into the Western genre.

Lacking the heavy cloud of doom of Boetticher & Scott's best collaborations, this one, however, boasts richly interesting characters that are telling a cunning moral allegory tale. It be an Oater for those who like intelligence over yee-haw like histrionics. 8/10

Scott's stoicism serves well here as he plays a man haunted by the ghosts of his past, and by what he perceives as his personal shame. The film benefits greatly from Lee Marvin's outstanding turn as an old nemesis who may want one more shot at the former sheriff who imprisoned him, and who rather enjoys twisting the knife after someone makes an innocently hurtful remark. Particularly effective scenes include Scott's nighttime conversation with Gail Russell (the wife in the couple he assists on their road West), as he lies under their prairie schooner and she lies above him with the wagon's floor separating them.

The story proceeds effectively, steadily revealing more of the dangers facing Scott in his quest; the dialogue is particularly sharp and enjoyable. The men he pursues are not particularly memorable - certainly not nearly so interesting as Marvin - but the real focus here is on Scott's character as he finds himself affected by his journey.

Not a truly great western in the mold of Shane or High Noon, or the classics of John Ford, this is still a fine addition to the genre and very enjoyable and moving. 7 of 10

Like McCrea, Scott did not become exclusively a Westerner until the mid-forties, but once established he became a Western star of distinction, achieving his best and most interesting roles as his career matured…

Scott was a great gentleman… It was simple for him to do the part because it was indeed the prime quality he brought to his many roles as lawman or lone rider… Scott's best work was the group of seven movies he made with director Budd Boetticher in the fifties…In these he obtained a new stature as the lone figure on a mission of vengeance or similar private quest, becoming a tougher, more forceful character, the archetype of the much-parodied image… As we all know, a man's actions are what make the man, and over and over again, Scott believed in courage… He believed in conspicuous displays of courage… And finally he rounded off this splendid climax to a long career by starring with Joel McCrea in "Ride the High Country."

Boetticher's style was marvelously simple and economical, sticking closely to the same plots, locations and character types in each of his Westerns and stressing movement and action rather than ideas…

Budd Boetticher's "Seven Men From Now" is 78 minutes… And as concise as this great Western is, it has four really well-developed characters traveling through Apache country; beautiful storytelling; takes full advantage of the location; and there are a lot of narrative incidents…

Ben Stride (Scott) represents a man whose wife has been killed and he's going to go out and seek revenge… But his style is ramrod straight and not very interesting… The killers that Stride is after are all opportunists… They are men who had broken the law… Boetticher introduces a sympathetic bad man, Bill Masters (Lee Marvin) who had been put in jail twice by the ex-Sheriff… But you get the sense that Masters wouldn't kill a woman… That's not what he has in mind... But, surely, he wants the $20,000 in gold from the strongbox… Ultimately, he had to test himself up against Ben Stride in the final confrontation: the stronger villain against the stronger hero…

Lee Marvin stole the show… He had all the little tricks, and twitches, and schemes… He is magnetic, especially in one key scene on that stormy night, when he gets inside the covered wagon, asking for a cup of hot black coffee…Tension mounts when he tells John Greer (Walter Reed) that his wife is beautiful… He wanted to get on Stride's nerves… And some tension grew between the three characters…

Annie Greer (Gail Russell) was the object of desire… She was wonderful foil, essential, torn between two men… Obviously her character quite quickly falls for Scott's character… Her husband—who seems weak—turns out to be stronger than we thought... Stride let his own life down because he was too proud… We hear him says: "A man ought to be able to take care of his woman." This is the line that's submitted to a test by the whole action and script and direction of the movie…

One last note: Without sacrificing any of the traditional action elements, there was somehow an extra dimension to the Boetticher Westerns; they had a biting, underplayed quality, the kind of films one would have expected had John Huston (in his prime) suddenly decided to become a director of Westerns

I finally got to see Budd Boetticher's superb Technicolor western "Seven Men from Now" which was long considered a lost classic in 1950s American cinema. The copy I saw was a pre-restored version but in excellent condition. This is Boetticher's first of a series of fascinating, modest, and low-budget westerns with Randolph Scott. The others include "Buchanan Rides Alone", "Decision at Sundown", "The Tall T", "Ride Lonesome", and "Comanche Station".

All of them are superb, but "Seven Men" is really my favorite. As Andrew Sarris astutely observed in his Boetticher entry in The American Cinema, "Constructed partly as allegorical odysseys and partly as floating poker games in which every character took turns at bluffing about his hand or his draw until the final showdown, Boetticher's westerns expressed a weary serenity and moral certitude that was contrary to the more neurotic approaches of other directors in this neglected genre of the cinema". From the stunning opening sequence of Scott coming from behind the camera entering a rocky shelter to the final scene of Gail Russell watching Scott leaving the town, "Seven Men" is an exciting, brooding, and impeccably constructed western. Boetticher deftly uses the vast isolated landscape to comment on the characters' isolation and entrapment. The screenplay by Burt Kennedy is brilliant and witty. The film also features some extraordinary performances by Scott and his clever nemesis, played by the incredible Lee Marvin, a role that somehow anticipates his sadistic Liberty Valance in Ford's "The Man Who Shot Liberty Valance". Scott plays a morally ambiguous ex-sheriff who, while helping an Eastern husband and wife, travel cross-country in their covered wagon, hunts for the seven men shot and killed his wife. The scenes between Scott and Russell are strangely moving and effective. The final showdown between Scott and Marvin is stunning and unforgettable.

"Seven Men From Now" marked the first of seven compact 75-80 minute little westerns starring Randolph Scott and directed by Budd Boetticher. This one was produced by John Wayne's Batjac production company. It was originally intended for Wayne but he was busy on "The Searchers" (1956) at the time, so the role went to Scott. One has to wonder what would have happened had Wayne starred. For instance the running time would probably have had to have been lengthened to elevate it to "A" picture status. As it was it is a compact 78 minute "B" plus classic with an excellent cast and crisp direction.

This picture had been locked away in the Batjac vaults until recently when this and several other Batjac productions were painfully restored to their original brilliance under the direction of Michael Wayne.

Ex marshal Ben Stride (Scott) is on the trail of seven outlaws who robbed the freight office in his town and killed his wife in the process. Stride had been defeated for the job of sheriff and had refused to take the deputy sheriff job, thus he carries the burden of blame for not being there to save his wife.

Stride catches up to two of the men in the opening sequence with predictable results. Later on, he comes upon a young couple, the Greers, traveling west by way of the town that Stride is going to. When we meet John Greer (Walter Reed) and his wife Annie (Gail Russell), they are virtually stuck in the mud. Stride helps them out and decides to travel along with them. Greer seems to be a bit of a milk toast and an attraction forms between Annie and Stride.

Along the trail they meet up with Bill Masters (Lee Marvin) and his pal Clete (Donald Barry). Although Stride suspects that they might be a part of the gang, Masters soon lets it be known that he too is after the $20,000 stolen in the robbery. After a falling out Masters and Clete ride ahead to town and meet the remaining members of the gang headed by Bodeen (John Larch). They learn that the gold is being brought to them in Greer's wagon.

The gang rides out to try and ambush Stride and Masters and Clete ride after them. Out in the country a showdown ensues and..........

This film established the types of characters that would appear in the subsequent six films, the solitary granite jawed hero with a past and the likable but lethal villain. The final six films would be produced by Scott's Ranown production company.

The beautiful but tragic Gail Russell was fighting her personal demons at this time. Her past relationship with John Wayne no doubt figured in her getting this part, which she carries off well. She died at the young age of 36 in 1961. For Marvin, I believe that this was the first time that he was billed above the title. He practically steals the picture as the likable but deadly villain. Walter Reed was a staple of the John Ford stock company and has one of the best roles of his career in this film. Watch for Stuart Whitman as a cavalry lieutenant and Wayne stunt double Chuck Roberson as one of the outlaws. Donald Barry was better known as Don "Red" Barry in the 1940s as the result of having played Red Ryder in the 1940 serial "The Adventures of Red Ryder".

A great little western.