Le survivant des monts lointains

this is a terrific film with a terrific cast and an outstanding score by dmitri tiomkin who composed for many films, many of them western: high noon, the alamo.. the film tells of two brothers, one honest, one outlaw, who separate and cross paths later, on both sides of the law..one look at the cast and you know who's what..the plot is somewhat moralistic, as it includes a juvenile who is shown the right and wrong paths in life..today, it would be cliche: no gratuitous gore, sex, language, chases, crashes and few screams..i guess this is what would be known as an adult film, because only adults (who remember these actors) would appreciate how things were done in the '50s..and more's the pity; in those days, less was more..an audience could enjoy one gunshot, one smile, one look and not get as bored as audiences do today when they see schwarzenegger, stallone, seagal, norris, etc., then ask gee, i wonder what he'll do next time that's better? even in the '50s, many films had class, today, it's all kitsch and glitz..thank god films last forever..

Jimmy Stewart plays a former railroad worker who accepts a small job from his former employer; To carry a large sum of money aboard a train to make sure it reaches it's destination. He gets robbed, and by someone he has a past with.

Very predictable and by and large a very typical American western. The story is familiar and practically transparent, but it's got the irresistibly appealing Stewart to carry it. The film is also incredibly beautiful to look at. I read somewhere that this was the first film to be shot in 2.35:1 framing, a very wide screen format, and it works beautifully. With all these insanely vivid colors and the huge scenery depicted here, one could freeze many frames here and hang them on a wall. It's that beautiful at times.

Verdict; Solid, above average American western. Still like those Italian westerns more.

Jimmy Stewart made some wonderful Westerns in the late 1940s and through the 50s. Compared the the average Western of the time, they had rather complex and featured non-traditional plots. As a rule, I actually hate the formulaic Western, as they have absolutely nothing new to offer and are just too derivative to be taken seriously. While this movie does have some new plot devices and the excellent acting of Stewart, this movie is the closest of these Westerns to approach the old formulaic themes. As a result, it is probably my least favorite of his films, but it is still pretty watchable.

Stewart, uncharacteristically, is a traveling accordion player (I am NOT kidding about this, really) and he has been doing this job for several years since being blamed for a train robbery (he was working for the railroad at the time). This film gives him a chance to prove himself and regain his old job with the railroad. But, along the way he encounters Brandon DeWilde (the cute kid from Shane who was killed at a very young age) and Audie Murphy (the war hero and actor who also died way too young). Aside from these two characters and Stewart, nothing about the plot is particularly outstanding. A decent and watchable film, but awfully predictable and forgettable.

By the way--a note to movie buffs--you DO get to hear Jimmy Stewart sing several songs in this film! While his singing was absolutely awful in BORN TO DANCE, in this film it isn't bad--the loud and cacophonous according did great things to hide his less than stellar voice! If only he'd used it in this previous musical!!

This is the Western that director Anthony Mann backed away from, claiming that the script was too weak. Was he justified in doing so? How does "Night Passage" measure up when compared with the Mann Westerns? Is it as good?

Let's look at the positives first. The scenery, filmed in the Colorado Rockies, is magnificent, on a par with the best of Mann's Westerns. As for action, there is plenty of it, climaxed with a great shootout. The cast is experienced, many of them veterans from previous Mann efforts. No big difference here.

Audie Murphy stands tall as the Utica Kid. He is introduced to the screen dramatically, framed against the sky dressed all in black as he pulls up his horse to look down upon the train that will soon be relieved of its precious cargo. Back at the outlaw hideaway, he sits back in quiet amusement as he goads mercurial boss Whitey Harbin (Dan Duryea), knowing how far he can push and when to back away. Definitely the most interesting character.

However, "Night Passage" falls down in two very important areas, the treatment of the leading man and the strength of the overall script.

Mann's heroes are emotionally scarred, bordering on hysteria and total breakdown before finally getting the upper hand. James Stewart's Grant McLaine never comes close to reaching that point, even though he has plenty of things to fret about; his brother is an outlaw, he lost his job with the railroad after helping his brother escape and he can't find another job. He contents himself playing the accordion and singing for small change and we can never really get the feel of his deep resentment.

Mann's Westerns are lean and taut, with no superfluous dialog and no wasted scenes. Director James Nielson, on the other hand, gets sidetracked, allowing himself to engage in the kind of tomfoolery that director John Ford was sometimes wont to do. At the railroad camp, workers, who we never see working, dance to McLaine's accordion playing until that degrades into a wild free-for-all. Ford could pull off this kind of thing; Nielson is less successful.

To sum up and answer the question, this Western doesn't quite measure up to those of Mann's, but it's not bad either. It can be enjoyed as entertainment as long as one doesn't look for great character depth. Whether Anthony Mann could have made it something more will forever be a matter of conjecture.

Beautifully photographed, atmospheric western that takes a while to build up under James Neilson's direction--he took over from Anthony Mann, who was fired after clashing with star James Stewart--but ends with a slam-bang finale. Stewart and Audie Murphy work well together, with Stewart as a railroad employee entrusted with getting a payroll past a gang of train robbers, and Murphy his brother who's a member of the gang. Dan Duryea excelled at playing sadistic villains with a twisted sense of humor who actually got a kick out of their work, and he does another good job of it here. A solid supporting cast including Jack Elam, Robert J. Wilke and Herbert Anderson contributes to the film's enjoyability, along with some spectacular mountain scenery. While no masterpiece, it's a good, satisfying western with a catchy little ditty sung by, of all people, Stewart. Check it out.