Le Salaire du diable

Jeff Chandler gives a capable performance as Ben Sadler, the Sheriff of the small town of Spurline. The main business is an enormous ranch presided over by arrogant fat cat Virgil Renchler (Orson Welles). One night, two of his hands, Ed Yates (John Larch), and Chet Huneker (Leo Gordon), go too far and kill a young worker. Now, a witness (Martin Garralaga) sees this, and goes to tell the Sheriff. Ben still believes in things like justice, so he takes on all comers in order to discover the truth of the matter. This also means he must go against the entire town, who are far too eager to keep Renchler happy and to keep his business.

Written by Gene L. Coon, and directed by Jack Arnold, this is overall a more routine and less interesting yarn than their previous Western, "No Name on the Bullet". Welles is awfully low-key as the antagonist; it seems as if his heart really wasn't in this one. But at least his role isn't purely one-dimensional; he's more tender around his young daughter "Skippy" (the stunning Colleen Miller). Really, it's the swaggering attitude of jerks like Yates and Huneker that helps to pick up the slack since Welles / Renchler gets relatively little screen time.

The filmmaking is generally very good, with top black & white cinematography by Arthur E. Arling. For a change, the action takes place in the present day, with people using phones and cars regularly. The atmosphere is strong, with a nearly wordless opening five minutes or so.

The main value of "Man in the Shadow" is the presence of a superior gathering of character actors: Ben Alexander, James Gleason, Royal Dano, Paul Fix, Mario Siletti, William Schallert, Forrest Lewis, and Mort Mills. Larch and Gordon are effective as the brutish thugs, but Barbara Lawrence gets a rather thankless role as the Sheriffs' concerned wife.

The theme is solid if hardly inspired: the good lawman surrounded by townspeople too afraid to back him up. At least Coon and Arnold make the proceedings reasonably entertaining.

Seven out of 10.

Jack Arnold 's follow-up to "the incredible shrinking man " ,by far his masterpiece , " man in the shadow" is a "modern" western ,with a very simple screenplay .

Very simple ,but very efficient too,and from the first sequence on ,a violent beat up which causes the death of a bracero ranch hand : an old man,who considers the young victim his son,saw the whole scene .But does the life of a bracero matter when you deal with a tycoon ,who rules the nearby town ,can ruin it,can starve it by not selling his crops to them?

Orson Welles is ideally cast as the tycoon ,but his character seems influenced by his hateful foreman ,his evil genius ,who also desires his daughter ( the key to the movie is "cherchez la femme" ); Jeff Chandler ,the marshall, is considered a pawn in their game (so you're the sheriff,you were elected and you can be fired if you do not follow the rules) ;but in spite of the danger ,he soldiers on ...

He's alone in the whole town , where the inhabitants are too afraid of the wealthy owner's power; even his wife does not really support him .His situation looks like Gary Cooper's in "high noon" (1952)

Man in the Shadow is directed by Jack Arnold and written by Gene L. Coon. it stars Jeff Chandler, Orson Welles, Colleen Miller, Ben Alexander, John Larch and Barbara Lawrence. Uncredited music is by Hans J. Salter and Herman Stein, and cinematography by Arthur E. Arling.

The cattle town of Spurline is ruled by Virgil Renchler (Welles), one man refuses to bow to his despotic rule - Sheriff Ben Sadler (Chandler).

Obreos No Son Permitidos A Traves De Esta Cerca.

The above statement means that field hands are not permitted beyond this fence, it's an opening salvo that greets viewers of this atmospheric and relevant CinemaScope picture, and it's something that perfectly sets up the unseemly tone of the story.

The story is simple enough, a town is run by an unsavoury business man who thinks he and his cronies are above the law, the townsfolk think he is as well and tow the line, even in view of the overt racism and treatment to those of other ethnicity. When a murder is committed it brings in the upright and loyal to the law Sheriff, who as you might guess will have to stand alone against tyranny.

"Now you're shocked? All you decent people were shocked? For god's sake why? Because my name's Ben Sadler instead of Juan Martine, cuz I'm a tax payer instead of a drifter?"

With mood established, both in narrative thrust and monochrome magic, film is more concerned with political bile, the abuse of power and troubled consciousness than being an action piece. You may well know how this is all going to end, but it's told and performed in such a gripping fashion that it holds court from first frame till last. A number of striking images would grace many a film noir, the night shots of the town, a dastardly crime perpetrated in the shadow of a swinging lamp, the ominous lighting of the Renchler Ranch, and then there's the potency of the criminal acts, which are admirably constructed. Both Arnold and Arling proving to have keen eyes for visual impact.

Welles doesn't have to stretch himself but makes a telling mark as the big bad, while Larch does a nice line in snarly henchmen villainy. Sadly where Miller is concerned, as Renchler's daughter it's a token role that any gal could have played, the role seemingly only serving to have her strip to her undies and be annoyed with her dad. Head and shoulders above everyone is Chandler, there are those who call him wooden (amongst over things), not a bit of it. The right role, such as this, showcases his worth, his subtleties, his physicality and a calming grace that makes one lament his too short career and life.

Thematically this sort of piece has been done much better elsewhere, but this is laudable stuff all told and well worth discovering for potential first time viewers. 7/10

Jeff Chandler is always a rewarding actor, his parts are usually paragons of virtue, courage and all good male characteristics, and in the film, a minor counterpart to "Touch of Evil", he walks the full length in fighting alone for a seemingly hopeless cause as the whole town is ruled by the corruption of Orson Welles. It's not a major film, but it has definite qualities which make it worth watching and learning from. Orson Welles' daughter (in the film) plays an important part and actually ultimately saves the plot, while almost all the other (male) actors are ordinary corrupt hoodlums. There is a circle around the leadership of the town that ultimately wakes up to what is going on - when it is almost too late. It's a moral story with the message to never give up if you are certain that you are right, especially if you fight for the truth, and as such it's an important film and argument.

Seems like shapely actress Colleen Miller appears outside her regular clothes about as often as in them, as in nightgown and underwear. But then, the movie posters had to have something provocative to promote.

The premise itself has been around the block more than a few times—a reluctant lawman stands up to local tyrant despite opposition from frightened townspeople. Still, the movie works pretty well up to two points where the screenplay buckles—the rope dragging and the town turn-around. Neither of these is very believable within context. But then, the film is on a budget and does have to motivate a wrap-up.

I gather producer Zugsmith helped finance Welles' next feature Touch of Evil (1957) in return for appearing here. The part is relatively small, and Welles underplays without the needed malevolence. Seems almost like he's walking through. Nonetheless, it's a solid cast of supporting players, familiar faces from thuggish Leo Gordon to Dragnet's Ben Alexander taking a break from the LAPD. The support works well to provide more color than usual.

Rather sad to see that earnest actor Jeff Chandler again, knowing he died unnecessarily at 42 as result of medical malpractice (a foreign object left inside following an operation, as I recall). He's quite good here as the conflicted sheriff struggling to do his duty.

All in all, it's a decent enough programmer, better than Zugsmith's usual quickie fare, thanks in large part (I expect) to under-rated director Jack Arnold.