L'homme aux colts d'or

What looks at first like it will be an enjoyable but mindless genre Western turns gradually into something rather darker and more nuanced. Almost nobody in this film is who they seem at first, and several characters undergrow gradual inversions, with results ranging from noble to deeply creepy. Who are the heroes? Who are the villains? You'll leave this movie much less certain than you were when you arrived.

Henry Fonda and Anthony Quinn are nearly upstaged by -- of all people -- DeForest Kelley, seen here just a few years before his career would be wrenched sideways by the role of Leonard McCoy in the original Star Trek.

"Warlock" is a decent western typical of the late 50's.

A cattle ranch owner and his men take the town nearby as their amusement place and terrorize its citizens; when an innocent barber is killed in one of the gang's nights of fun, they decide to hire a top gunman to put an end to the dangerous cowboy's actions. Clay Blaisdell (Henry Fonda)is the selected man and he arrives along with his sidekick Tom Morgen (Anthony Quinn) another fast draw too.

When Blaisdell -supported by Morgan- starts to do his job and things get better some of the town's folks are not quite satisfied with the man's ways and begin to wonder if his coming was a good idea. In order to bring some scent of law to the place they appoint Johnny Gannon (Richard Widmark) -a former member of the gang who thinks things went too far- as deputy sheriff. Gannon has not only to control the remaining vicious cowboys but he is also expected to get the town rid of Blaisdell and Morgan.

"Warlock" is perhaps a bit too long and the plot has many twists and different subjects to attend to (the strange relationship between the two hired gunfighters, Blaisdell's romance with local beauty Jessie (Dolores Michaels), revenge intentions of ex prostitute Lilly Dollar (Dorothy Malone)for a killing that happened in the past, Gannon's conflict with his kid brother Billy who is tempted to gain fame by challenging Blaisdell, and some others).

But nevertheless the film turns out entertaining and has tension, very well solved shooting and gunfight sequences, a fine location, good settings and remarkable performances. The final showdown between Fonda and Widmark is also a high point in spite of its outcoming.

Henry Fonda is a perfect choice as Blaisdell the aging gunfighter somehow tired of killing and moving and Quinn is very good as his unconditional friend and supporter. Richard Widmark is correct as the redeemed cowboy that becomes sheriff and Dorothy Malone renders one of her usual good jobs. The supporting cast is alright too.

If you like westerns this Edward Dmytryk piece is one to see and if you don't care much about the genre you'll probably find "Warlock" amusing and entertaining. It's a 7 out of 10 for me.

There is no doubt that this Film was brilliantly put together both in Direction and Star Quality. When you put together Henry Fonda, Richard Widmark and Anthony Quinn, you know you are in for a treat. The story is quite superb and a far cry from many of the Westerns being churned out in the Fifties. As the Marshal who is quite dangerous, in his own way, Fonda is really the star around which so much resolves. Widmark as a reformed outlaw turned Deputy Sheriff plays his role to perfection, while Anthony Quinn as the crippled close friend of the Marshal is integral to the final outcome. They are greatly supported by a well-worn Dorothy Malone, and to me at least a surprising good performance by Tom Drake as the cruel and somewhat cowardly leader of the Outlaws. It is one of the last Cinemascope big movies by Fox, and the photography and atmosphere are quite spectacular.

Warlock is a little mining town in the Wild West. Local heavies from San Pablo are terrorising the citizens of Warlock, and the movie starts with the sheriff being run out of town. The citizens' committee decides to hire the notorious Clay Blaisdell to reimpose order.

Ethical positions are relative in the strange little world of Warlock. The citizens are willing to give Blaisdell free rein when it comes to cleaning up the town, even though his methods are famously ruthless, and his 'package' includes installing himself and his partner Tom Morgan in the saloon with their travelling casino. Blaisdell intends to earn a rake-off as the faro dealer. He will also collect $400 per month as the 'marshall', even though Warlock has no town charter and does not qualify for a marshall.

Blaisdell is himself a man of deep moral equivocation. Henry Fonda plays him as an emotionless killer who paradoxically forms deep personal attachments - first to Morgan, then later to Jessie Marlow (Dolores Michaels). He crusades to rid western towns of their bad guys, but does so on a strictly commercial basis. Blaisdell knows that the citizens' hero-worship will turn in time to resentment, and he and Morgan will have to move on to the next beleaguered town.

Morgan, too, is a man of profound contradictions. The cynical casino owner has little regard for the human race, but adores Blaisdell, "the only person ... who looked at me and didn't see a cripple." Morgan is Blaisdell's partner in the law-and-order campaign, and yet there is a strong suggestion that Lily is a whore and Morgan her pimp. The relationship between Blaisdell and Morgan has a definite homoerotic tinge, and when Blaisdell takes up with Jessie, Morgan behaves like a jealous lover. Eventually, he even gives up the will to live.

"Warlock" is an idiosyncratic film with its own look, its own terminology and a curious plot. The quaint high street with its rutted red clay is quite unlike standard western towns. When the characters talk of 'road agents', they mean stagecoach hijackers. 'Backshooters' are men who shoot others in the back. In the mean moral climate of Warlock, backshooters are everywhere. McEwan never sets up a confrontation without putting his backshooters in place, and Blaisdell's answer to the San Pablo boys is to cover their backshooters with backshooters of his own.

Richard Widmark plays Johnny Gannon, the San Pablo man who throws his lot in with the people of Warlock. Johnny is the measure of the town's growing maturity. If the people are prepared to back Johnny against the bad men, there will be no need for hired guns such as Blaisdell. The judge warns Johnny that his status as the town's totem will single him out for trouble - "You're a target, a symbol, and they must come after you." And so it transpires.

Changes of clothing signify changes of heart. Once Johnny decides to embrace the law, he doffs his denim jacket and starts wearing fancy duds. When Clay transfers his allegiance from Morgan to Jessie, he discards the silk waistcoats which are Morgan's 'uniform'.

"Star Trek" fans will spot DeForest Kelly ("Bones") in the role of Curly, the sarcastic joker of the San Pablo gang. We quickly form the view that Curly is not as brutal as the others, and this is borne out when the shooting starts in earnest.

The film has two climaxes. First, Johnny has to face down McEwan and his men, and then there has to be a reckoning with Blaisdell. This eccentric film manages to contrive an unexpected ending.

In a strong cast, Fonda and Quinn stand out as the ill-matched friends - the cold killer and the emotional gambler.

Complex psychological western. I like another reviewer's point about the conflict between law and order in the film. Only Widmark's Gannon appears concerned with enforcing law in addition to order, while the rest of the town is more concerned with simply order. Fonda's Clay Blaisdell stands as the pivotal character, a morally ambiguous gunslinger with a dubious past. The mutual attachment between him and sidekick Morgan (Quinn) is highly unusual for a macho western. As hired gunslingers, they're a formidable team. However, it turns out that Clay is stuck in the risky business as long as he and Morgan remain together. On the other hand, Morgan's definitely unhappy with Clay's budding relationship with blonde Jessie (Michaels). It's likely that Morgan uses their hired status to keep them together, as the ending appears to show. I expect casting the macho Quinn in what amounts to a suggestive role was no accident.

The 2-hour runtime is pretty well filled as the various undercurrents and conflicts play out. Viewers who cotton to dramatic showdowns should love this screenplay, which has at least four. Surprisingly, it's hard to predict who will be involved, a tribute to the screenwriter. Overall, it's an unusual oater that doesn't follow genre formulas. On the downside is a lot of talk, plus complexities-- especially the characters' backstories-- that at times are hard to follow. Nonetheless, the three leads are excellent, especially an emotional Quinn, along with a supporting cast of familiar 50's faces. So, for western fans, the movie's well worth snagging despite its relative obscurity.