Le ranch maudit

I remember watching this film when I was about three years old the first time, and being scared to death. In fact, every time I watch this film a part of me gets a little scared at the thought of a giant grizzly terrorizing a farm.

This movie will no doubt seem dated and somewhat simple compared to today's overblown productions, however, it has charm and remains a childhood favorite of mine through the years. The story is engaging. It has humour, action, and suspense.

When I was a child living on a farm in the woods of Alberta, my father used to be called on by his uncle to go hunt bears that were killing too many calves. This movie sparked my imagination and I often wondered just what my dad would do if a GIANT bear came down out of the hills and started creating terror in our small community.

If you like wilderness tales or adventure stories you will enjoy this film. Perhaps Hollywood should think about a remake, today's special effects would thoroughly enhance this great story.

Although 'Night of the Grizzly' was released by Paramount, it's easy to mistake it as a Disney film! Long on family values and gentle humor, this adventure yarn is the kind of 'live-action' feature that the studio specialized in throughout the fifties. If you don't think a film that kids can enjoy will be your 'cup of tea', you might be in for a surprise! This is a terrific movie!

Ex-Marshal Jim Cole (played with rugged charm by 'Cheyenne' Clint Walker) moves his family onto a small ranch, hoping to get away from the dangers of his previous line of work. His loving wife, Angela (popular '60s star Martha Hyer) is overjoyed by their new life, and the kids soon develop a bond with the beautiful countryside, and the small town nearby.

Not EVERYONE is happy about the arrangement, however; town bigshot Jed Curry (Keenan Wynn) wants Cole's land, and his sons are soon attempting to provoke Cole, in an unsuccessful attempt to force him to leave. When a monstrous killer grizzly appears, and starts killing off Cole's livestock, Curry sees his opportunity; as the primary shareholder at the bank, he makes it nearly impossible for the rancher to get loans to replace stock.

The grizzly, nicknamed 'Satan', terrorizes the countryside, killing men, horses, and farm animals, and Cole methodically begins hunting it, in hopes of getting the $750 bounty that would 'save' his ranch!

The arrival of bounty hunter Cass Dowdy (played with cold-blooded menace by veteran screen villain Leo Gordon) further muddies the waters; Cole had once arrested him, and Dowdy spent two years in the 'pen', vowing revenge! Adored by the eldest Cole child, Charlie (Kevin Brodie), Dowdy announces he will kill the grizzly and accept the bounty, simply to ruin Cole! The pieces are now in place for a thrilling finale, as Cole, Charlie, and Dowdy confront the enraged beast, in a scene eerily similar to the climax of 'Jaws'!

The film offers a supporting cast of Hollywood 'pros', including Jack Elam ('Cannonball Run'), as bizzare but sweet Hank, who is 'adopted' by Cole's young daughter, Gypsy (the wonderful Victoria Paige Meyerink, in her second film); Nancy Kulp (TV's 'The Beverly Hillbillies') as the spinster owner of the local mercantile store; Ron Ely (TV's first 'Tarzan') and Sammy Jackson (TV's 'No Time for Sergeants') as Dowdy's sons; and Regis Toomey ('Burke's Law'), as the sympathetic banker.

This is a film to cherish, and enjoy, again and again! Gather the family...They'll thank you for it!

I'm in complete agreement with another reviewer in that this Paramount production might well have been done by the Disney Studio. It certainly has that look and feel about it. But that doesn't mean that The Night of the Grizzly can't be enjoyed by adults as well.

Clint Walker and Martha Hyer are a pair of marrieds with children, one of them being a teenage niece. He's a sheriff who's now retired and they've inherited a ranch from his late brother.

Unfortunately the ranch is also loaded down with a financial obligations they've inherited as well. They have a rapacious neighbor in Keenan Wynn who'd like the property with a pair of lunkhead sons, Ron Ely and Sammy Jackson.

But that's not all facing Clint and Martha. There's a local grizzly named Old Satan who's terrorizing the ranches and farms in the area. He's doing far more damage to them than anything Keenan Wynn and his sons are doing. Actually Wynn for a screen villain is a rather mild one, he much prefers working with finances to get what he wants than any violence.

There's one more in the mix here. Leo Gordon has one of his best screen roles in this film, in fact he steals the film whenever he's on screen. He plays a bounty hunter and former deputy to Walker who served two years in prison due to his killing an innocent man and Walker's testimony of same. He's been hired to kill Old Satan by Wynn, setting the stage for the climax.

The Night of the Grizzly does have some very nice outdoor camera work, no studio shots at all in this one of a dwindling group of B westerns.

It's unfortunate that there is no market for films like The Night of the Grizzly any more.

Was skimming through some videotapes I'd made from past TV broadcasts yesterday and, lo and behold!, came across one I'd recorded (but failed to label, oops!) of this title from an American Movie Classics broadcast quite some time ago. It was uninterrupted by commercials and promotional tidbits AND it was letterboxed, as any widescreen film, of whatever quality, deserves to be.

Ever since AMC opened the floodgates to commercial advertisers, dispensed with presenters like Bob Dorian, Nick Clooney, Cesar Romero, et al., and generally cheapened this venue into an unwatchable rival to the worst of its cable TV bedfellows, it has made the presentation of a widescreen film in the letterbox format a rarity on a par with, let's say, a politician telling the truth and/or admitting a mistake.

"The Night of the Grizzly," though it's not a work of deathless cinematic art, is a good example of what entertained us almost forty years ago: a good cast, a serviceable script, modest but not skimpy production values, and direction that builds the tension to a genuine climax, all without fiery explosions and violence that brutalizes its potential audiences