Une poignée de plombs

A Western that shows how the "West growed itself up and got itself civilized".Richard Widmark gives what is probably his last great performance as a Sheriff whose way a doing things don't sit right with the "powers-that-be" personified by town merchant Carrol O Conner.This movie ,like Invitaion to a Gunfighter made some years before it reveals just how gutless and desperate the power-brokers are when there's no one to do their bidding.The film still holds up (even with the much mentioned two directors)though it has that "back-lot"look to most of it.John Saxon has a brief but memorable piece of work in this must see film for western fans or good movie fans.

Started by Robert Totten, then taken over by Don Siegel at the insistence of Richard Widmark (Totten and the star "clashed," as they say), "Death of a Gunfighter" wound up credited to the fictitious and now somewhat famous Alan Smithee. This intriguing Western remains the elusive director's best work, thanks, no doubt, to the proven skills of Siegel and another terrific Widmark performance (the director and star had previously collaborated on "Madigan" a year earlier). As sheriff Widmark's love interest, Lena Horne hasn't much to do, but she looks good doing it.

There are some pleasant and perceptive touches to this parable of the passing of the old west and the inevitability of the arrival of civilized society. This film mirrors at least two other films from 1969, BUTCH CASSIDY AND THE SUNDANCE KID and THE WILD BUNCH. All three films try to capture the sunset of their anachronistic characters. Pike Bishop and Frank Patch have much in common. There is no room for them anymore in the West they knew. Bishop and Butch and Sundance light out for sunnier climes only to meet explosive endings. Frank Patch sees himself as a force for stability, a safeguard against primal urges that simmer on the surface and are kept in check only because he is the law. He underestimates the political climate of his town and the passion the town burghers are willing to unleash to remove him from office. Rather then move on, he is compelled to stay. I would especially like to recommend the pastoral scene where the local politicos convoy out to the fishing hole where Patch and young Dan are spending the day. It is a beautiful composition.

Someone by the name of Joseph Calvelli is credited with the screenplay of DEATH OF A GUNFIGHTER - I know him not from the proverbial bar of soap, and on the strength of the illogical, awful script, I hope not to see his name again.

Director Alan Smithee is in fact bipolar: he is the name used by Directors Don Siegel - whom I admire very much - and Robert Totten, whose film GUNSMOKE I watched so long ago that I do not have a firm opinion on its merits anymore.

With a bipolar Alan Smithee and a substandard script writer, things inevitavly go south with this production and Andrew Jackson's pedestrian cinematography does not function as Deus Ex Machina either. Sadly, those failures pull the rug from under the feet of the acting ensemble.

Richard Widmark posts his trademark quality performance as the trigger happy Marshall Patch (a fitting name, the unfortunate lawman is going through a bad patch despite his basic decency); capably assisted by main villain Carroll O'Connor (then famous for his comic TV show, ARCHIE BUNKER'S PLACE), suicidal Kent Smith, and David Opatoshu as leader of the city elders trying not just to oust but to actually kill Widmark.

I have always liked Don Siegel for his respet of cause and efffect in the plot, but here he must have allowed the other part of Alan Smithee to smite his ass, and the final scenes of a moribund Widmark marrying Lena Horne and staggering about the town with a shot in the leg and another in his left shoulder just reek of impossibility. 6/10 is actually generous, as I really like Widmark and Siegel.

This maybe the greatest film ever directed by the elusive Allen Smithee whose name comes up on the credits of this and many other films that directors can't or don't want to claim credit for a variety of reasons. Robert Totten and Don Siegel directed it and neither wanted credit for their own reasons. So unlike Come and Get It where both Howard Hawks and William Wyler directed it and both are listed, this one was credited to the elusive Mr. Smithee, that pseudonym invented by Hollywood for one who doesn't want the credit.

Usually they don't want the credit because it's a stinkeroo. But here this is a good western about an aging town marshal whose time as come and gone and won't see it.

Richard Widmark is that marshal and the local bordello madam, Lena Horne is his girlfriend or one of them. The film opens with an irate husband looking to gun him down played by Jimmy Lydon. Of course he's no match for the lawman and this spurs the town council to look for a way to finally be rid of him. The town elders are such veterans as Larry Gates, Morgan Woodward, David Opatoshu, Dub Taylor, and Kent Smith.

It becomes pretty obvious that Widmark won't take the hint and they start running out of options. For one of them it ends in tragedy.

Carroll O'Connor plays the most interesting role here, a far cry from Archie Bunker. He owns one of the saloons and his reasons are more typical, law and order has been taking away business for too long. O'Connor is a slime ball who first tries to use others to do his dirty work.

The others are the ones who brought Widmark to town in the first place, but now Widmark is a law unto himself. He has his own way of interpreting what needs to be done and the skill with a weapon to enforce it.

As you can imagine it's a pretty bloody picture, but a great lesson to be learned when you allow a man on horseback to run things.

I'm imagining though, millions of years from now; Aliens excavating our planet and through the efforts of folks like the American Film Institute come across the collected works of Allen Smithee. In their textbooks it's going to read that Smithee was a mediocre talent of whom little is known, but this one film is a great one amongst a lot of mediocrity.