उपयोगकर्ता समीक्षाएं

Dana Andrews is a merchant/entrepreneur on the Oregon frontier during its period of pioneer settlement in the 1840s. He's got two women interested in him, Susan Hayward and Patricia Roc, a weak business partner in Brian Donlevy who's addicted to gambling and a big and mean man played by Ward Bond who wants to kill him. And of course there are the ever present Indians around.

Canyon Passage is directed by French expatriate director Jacques Tourneur and I have to say Tourneur did a good job in immersing himself in American frontier culture. I don't think John Ford could have done better with the story, the cast, and the superb outdoor photography that puts those B studio westerns to shame.

Patricia Roc who was a big name in Great Britain made a couple of American films at this time. Until the boundary was finally fixed at the 49th parallel, British settlers would not have been uncommon in the Oregon territory so the casting is not as strange as one might normally think. Ms. Roc didn't make much of an impression on American audiences and she was back in Great Britain shortly thereafter. Not too many British players of the period could boast a western in their credits though.

Susan Hayward is strangely subdued in this film. She looks a bit out of place in this one. She's far better suited to an urban setting. Later on she did films like Untamed and Garden of Evil, but far more of her fiery personality was shown in those roles than in Canyon Passage.

Ward Bond is the villain here, a misanthropic loner of a man, brooding and strange. I guess you can best compare his role to that of Judd Fry in Oklahoma. Has the same kind of problems relating to people, especially those of the opposite sex, that Judd does. It's one of Bond's two or three best performances on screen.

The popularity of Canyon Passage was helped in large measure to the Hoagy Carmichael-Jack Brooks ballad Ole Buttermilk Sky which Hoagy also performed in the film. It was a big hit that year both for Hoagy himself and others who recorded it. Carmichael was an amazing triple talent in the entertainment field as composer, actor, and singer of his own and other's songs. His best known movie parts besides Canyon Passage would be in Young Man With a Horn and The Best Years of Our Lives.

Tourneur keeps the film moving at a steady pace and gets quite a lot crammed into the 90+ minutes of the film. Western fans who like their films slow and easy will take to this one.

A bland, generic title disguises a sublime little Western which, despite being one of a string of prestige genre pictures shot in color around the same time – like DUEL IN THE SUN (1946) and California (1946; included in Volume 2 of Universal’s “Classic Western Round-Up” series) – only in recent years did its reputation soar considerably through the championing of renowned admirers like Martin Scorsese and Jonathan Rosenbaum. It is also important in that it marked Jacques Tourneur’s first film in color and for being the first of several Westerns he would go on to helm, the most distinguished of which was the black-and-white STARS IN MY CROWN (1950) with Joel McCrea.

All the familiar Western ingredients are present (love triangles, crooked bankers, bar-room brawls, Indian attacks, impromptu court hearings turning into lynch mobs) but which are literally rendered fresh once more by impeccable handling and production values – the beautiful color photography (courtesy of color lighting expert, Edward Cronjager), skillful music accompaniment (composer Frank Skinner) and a splendid cast who rise up to the occasion of breathing life into their three dimensional characters: Dana Andrews’ restless hero, Brian Donlevy’s likable rogue, Susan Hayward’s feisty heroine, Ward Bond’s mean town-bully, Hoagy Carmichael’s balladeer-cum-cynical observer, etc. Besides providing notable roles also for Lloyd Bridges (as a hot-headed miner), Stanley Ridges (as Hayward’s lawyer father), Onslow Stevens (as a tubercular conman) and Rose Hobart (as Ridges’ enigmatic, exotic wife), screenwriter Ernest Pascal – working from material originally published by noted Western writer Ernest Haycox – adds the nice touch of introducing English émigrés (Patricia Roc and Halliwell Hobbes) into this community, which further aids the film in standing out from the crowd of similar fare.

CANYON PASSAGE is undoubtedly one of the most vivid portrayals of pioneer life in the Old West ever brought to the screen, certainly on a par with John Ford’s DRUMS ALONG THE MOHAWK (1939) but arguably working on a greater level of sophistication: for one thing, the relationships between the characters are more complex in nature than they at first appear (practically every major character is engaged to marry someone but is truly in love with somebody else) and the fact that Tourneur boldly chooses to have some of the film’s major events take place off-screen – Donlevy’s killing of the miner whose money he has been pilfering (which leads to the trial in the bar), Ward Bond’s slaying of the Indian girl (which leads to the climactic Indian attack), Andy Devine’s death at the hands of the Indians, Donlevy’s own ‘execution’ by the villagers, etc. – also hints that we are watching is indeed something quite special.

Director Jacques Tourneur and leading man Dana Andrews went on to collaborate on two more films a decade later – the superlative occult chiller, NIGHT OF THE DEMON (1957; which is apparently getting a fully-loaded release on R2 DVD later on this year) and the obscure Cold War thriller, THE FEARMAKERS (1958). One final note about CANYON PASSAGE: multi-talented Hoagy Carmichael composed and sang four songs for the film – one of which, “Ole Buttermilk Sky”, became a hit tune and was, sadly, also the film’s sole Academy Award nomination!

Tourneur's first Western is yet another of the director's unjustly misunderstood works. What at first appears to be vague or meandering tale is in fact an infinitely personal work with a subtle direction. Of all Tourneur pictures I have seen, "Canyon Passage" is the most endlessly fascinating. Here is a movie rich with pictorial beauty and simplicity, yet every time I watch it, I discover new things. The meaning often shifts and turns, revealing new depths, emotions, insights. You will probably not going to notice its emotional richness if you have just seen it once.

When I first saw "Canyon Passage", I was a little puzzled by it, especially the relationship between Dana Andrews' Logan and Brian Donlevy's George, but successive viewings and Chris Fujiwara's book were extremely helpful. "Canyon Passage" is far from a typical or ordinary Western, even though it concerns with theme of the affirmation of the American Myth or the cohesion of community. Most of the events occur off screen, the dialogue alludes to previous events that took place before the movie starts, the Hoagy Carmichael songs are unforgettable and become more timeless with each viewing. The three separate songs lyricize the narrative much like the timeless unifying song in Tourneur's masterful "Stars in My Crown"(1950).

Please give it another chance. It helps a bit if you revisit it from time to time to appreciate its neverending beauty and subtlety.

A nice picture indeed. It is an epic western, powerful and straightforward at the same time, a fine adaptation of a Saturday Evening Post Novel located at Portland area, Oregon, in 1856. It has got a good casting including Hoagy Carmichael playing his own songs (one of them, Buttermilk Sky, became a big hit). The colored photography in Technicolor is wonderful. An authentic gift for the eyes. The Skinner's music is excellent, the natural stage beautiful, the action grand. It tell us about the pioneer fight between themselves and against the Indian. If you like western movies, do not miss this one. If you do not, here is a good chance to start knowing healthy and amusing movies. If you declare yourself satisfied with it, as I hope, I do recommend another Jacques Tourneur western, Wichita (1955), with Joel McCrea and Vera Miles. You will be not disappointed. 7/10

"Canyon Passage" though advertised as a western, plays more like a pioneer frontier drama with most of the characters looking like miners or loggers rather than the traditional Hollywood cowboys. To its credit and that of Director Jacques Tourneur, the set pieces look authentic and you believe that you are in the Oregon wilderness of the 1850s.

Logan Stewart (Dana Andrews) runs a freight business out of the small settlement of Jacksonville. The story opens with Stewart escorting Lucy Overmire (Susan Hayward), the fiancé of his friend local banker George Camrose (Brian Donlevy), back from San Fransico. Therin you have the eternal triangle even though Stewart is to marry Caroline Marsh (Paricia Roc) who is living with the family of Ben Dance (Andy Devine).

Camrose however, has a gambling problem. He is running up a large amount of IOUs with gambler Jack Lestrade (Onslow Stevens). Stewart bales him out with the promise that he will quit gambling. Town bully Bragg (Ward Bond) has it in for Stewart. They brawl in the local saloon.

Camrose meanwhile, has continued to gamble. To cover his losses, he is stealing gold from the deposits left on deposit with him. One of the miners returns unexpectedly and Camrose murders him to keep his secret. When Stewart leaves town, Lastrade sets Bragg after him without success. In the forest, Bragg murders a young Indian maiden which starts an Indian war and....................................

Dana Andrews to me, never made a convincing western hero. His fight with Bond is totally unbelievable as the slightly built Andrews bests the hulking Bond. Bond by the way, turns in an excellent performance as the brutal and lustful Bragg. Susan Hayward is beautiful with her res hair afire in glorious Technicolor. Donlevy, also excellent, plays Camrose not as a villain but as a man caught by the evils of his addiction to gambling.

Others in the cast include Lloyd Bridges as Johnny Steele a robust young minor and Hoagy Carmichael as wandering minstrel Hi Linnet (who among others sings his classic "Ole Buttermilk Sky". Andy Devine's two sons Ted and Danny play his sons in the film. Director Tourneur had worked with the legendary producer, Val Lewton earlier in the 40s.

A beautifully photographed film with authentic looking set pieces.

Canyon Passage is directed by Jacques Tourneur and is adapted by Ernest Pascal from the novel written by Ernest Haycox. It stars Dana Andrews, Brian Donlevy, Ward Bond, Susan Hayward, Lloyd Bridges & Patricia Roc. In support is Hoagy Carmichael who offers up ditties such as the Oscar Nominated "Ole Buttermilk Sky". Music is by Frank Skinner and cinematography by Edward Cronjager.

More famed for his moody black & white pieces (a year later he would craft one of film noir's best pics in Out of the Past), Canyon Passage finds Tourneur operating in glorious Technicolor on Western landscapes, the result of which is as gorgeous as it is thematically sizzling. The story follows Andrews' Logan Stuart, a former scout turned store & freight owner who has landed in Jacksonsville, Oregon. Also residing here is the girl he is courting, Caroline Marsh (Roc) and his friend George Camrose (Donlevy) who plans to marry Lucy Overmire (Hayward). However, there are problems afoot as George has a serious gambling problem, one that will send this tiny town into a vortex of turmoil. Affairs of the heart also come under great pressure, and to cap it all off, the Indians are on the warpath after the brutish Honey Bragg (Bond) kills an innocent Indian girl.

The first thing that is so striking about Canyon Passage is the town of Jacksonville itself, this is a vastly different Western town to the ones we are used to seeing. Built in a sloping canyon that helps to pump up the off kilter feeling that breathes within the picture, it's also green, very green, but in a most visually interesting way. The greenery and red flowers give a sense of harmony, a sneaky way of diverting the viewer from the smouldering narrative, for we find that Tourneur is delighting in not only painting a pretty picture that belies the trouble bubbling under the surface of this apparent place of prosperity, but he's also revelling in using various camera shots to embody the unfolding story and the characterisations of the principals. This really is a film that begs to be revisited a number of times, for then you find with each viewing comes something new to appraise, to pore over to see just why Tourneur did something in particular. The host of characters are varied and have meaning, each given impetus by the uniformly strong cast - the latter of which is also a testament to the supreme direction from the Parisian maestro.

I honestly feel that if this was a John Ford film it would be far better known & appraised accordingly. At time of writing this review it's still something of an under seen and vastly under rated Western, and this in spite of it garnering praise over the last decade or so from some big hitters in the directing and film critic circles. Cronjager's Technicolor photography is rich and piercing, where Tourneur and himself expertly utilise the Diamond Lake and Umpqua National Forest exteriors to expand mood of the story. Skinner's score is excellent, as is Carmichael's (wonderfully creepy characterisation) musical input, while the costuming is top dollar. Now widely available on DVD, there's hope that more people will seek this out. With the number of finely drawn sub-plots, and the wonderful visual delights and directorial tricks, Canyon Passage is essential viewing for Western and Tourneur purists. For sure this is a film that rewards more with each viewing, so just keep your eyes and ears firmly on alert and enjoy. 9/10

Colorful and vivid, Canyon Passage is crammed full of plots and subplots. It starts out looking like a family movie about pioneers in Oregon, but develops into a complex story with several key characters, the most important being Logan Stewart (Dana Andrews) a mule train outfitter whose business partner is compulsive gambler George Camrose (Brian Donlevy). Set mostly in a mining town, with settlers clearing the adjacent land for farms and wary native Americans watching their territory disappearing, it is a story that weaves together hit rich quick miners, gambling, pioneering, and a significant romance that brews between Camrose's girl Lucy Overmire (Susan Hayward) and Stewart, with Camrose piling on gambling debts and pilfering the till to pay them off. The precarious peace with the Indians is strained by the building of more and more cabins, and when it finally breaks there is a series of ruthless attacks on the settlers that are uncommonly brutal for a film made in 1946. With Ward Bond as mean and sadistic Honey Bragg, and Lloyd Bridges as gambling miner Johnny Steele, and Hoagy Carmichael as minstrel/philosopher Hi Linnet, this rather unknown western by Jacques Tournier, known more for Out of the Past and Cat People is a real departure from the Wayne/Ford/Hawks pictures of this era.

This excellent , meaty Western contains interesting plot ,thrills , brawls , shoot'em up and is quite entertaining . A great Western with some impressive action and spectacular scenario .It deals with businessman Logan Stuart (Dana Andrews) who falls for Lucy who happens to be the fiancee of his friend , banker/gambler Camsrose (Brian Donlevy) . Then Logan is torn between his love of two very different women (Susan Hayward , Patricia Roc) in 1850's Oregon and his loyalty to his friend who gets into money troubles . There is also a nasty villain called Bragg (Ward Bond) who takes on Logan and a thrilling battle against Indians . Every Exciting Character ! Every dangerous moment ...

Rip-roaring Western set in Oregon territory , Portland , 1856 . Moving Western including colorful exteriors , fist-fight between Dana Andrews and Ward Bond as well as a pulsating and violent Indian raid and tuneful melodies . Adding some unforgettable scenes as the building a house carried out the neighborhood similarly many years later in ¨Witness 1985 by Peter Weir . Dana Andrews delivers a sober acting as a former scout turned store owner . Brian Donlevy gives a fine interpretation as a compulsive gambler friend who goes over the line. Hoagy Carmichael that appears as a top-hatted role aptly named Linnet , chirping some songs that include the memorable Buttermilk sky . Carmichael serves as the wandering ministrel to the action . Support cast is frankly excellent , such as : Fay Holden , Andy Devine , Stanley Ridges ,Onslow Stevens , Rose Hobert , Chief Yowlachie , Ray Teal and Lloyd Bridges .

Sensitive as well as catchy score by maestro Frank Skinner , including four songs sung by Carmichael . Strikingly filmed in color by Edward Cronjager . Being lavishly produced by Walter Wanger and associate producer : Alexander Golitzen , a prestigious production designer . Based on the homonymous novel by Ernest Haycox , the picture was well directed by Jacques Tourneur who was best known for his horror films .The underrated filmmaker Jacques Tourneur , though the present-day he is better considered , he was a prolific craftsman who directed some masterpieces . Jacques directed all kinds of genres , such as Terror : ¨Curse of demon¨, ¨I Walked with a Zombie¨, ¨Leopard man¨ , ¨Cat people¨, ¨Comedy of terrors¨ ; Film Noir :¨Out the past¨, ¨Berlin express¨, ¨Experiment perilous¨ , ¨Nightfall¨ and Adventure : ¨The giant of Marathon¨ , ¨Tombuctú¨, ¨Martin the gaucho¨ , ¨Anne of the Indians¨ and ¨The flame and the arrow¨.In Western genre he made 5 films : This masterpiece titled ¨Canyon passage¨(1946) , ¨Star in my Crown¨(1950) , ¨Stranger on horseback¨, also with Joel McCrea , ¨Wichita¨(1955) with Joel McCrea as Wyatt Earp formerly to OK Corral duel and ¨Great day in the morning¨ with Robert Stack dealing with facing Union and Confederation . He finally directed episodes of ¨Norhwest passage¨ (1958) titled Frontier Rangers , Fury River and Mission of danger . Rating : 7.5/10 , Well worth watching

I don't know what it is about this movie, but it left a strange, hypnotic effect on me since I first saw it as a kid in Boston. It has stayed with me all thru the years. Not only the breathtaking scenery of Oregon but the haunting quality of Hoagy Carmiachel's songs, like "Oh Buttermilk Sky". It really stays with you. Dana Andrews is perfect as Logan, (and what a perfect name for his character). Susan Haywood always glamorous and a great actor. Ward Bond, a villain, scary and unlikable the way he mistreats his dog in this film, by keeping it chained to a tree and throwing objects at it. What boy who loves dogs would not feel disturbed and hate him for that? The cabin building scene, with Andy Devine, does has a flaw. Look for it.

Out of all the stars who came out of 1940s Hollywood, I find I'm most interested in the films which starred Dana Andrews. Not a multi-faceted actor, but most assuredly a reliable one, Andrews is seldom ever mediocre in his vehicles--and of course it didn't hurt that he usually worked with great directors, such as Jacques Tourneur here. This minor-league but acceptable western, taken from a story by Ernest Haycox, has a wrangler and a feisty female trekking across Oregon in 1856, encountering woodsy folks along the way, as well as Indians and the woman's crooked intended. Not especially memorable, but still an entertaining second-feature spectacle with fine color photography and solid work from Andrews and Susan Hayward. Tourneur's direction gives the proceedings a light, airy touch, and the supporting cast (including Brian Donlevy, Ward Bond and Lloyd Bridges) is first-rate. **1/2 from ****

When respected film people like Martin Scorsese and Jonathan Rosenbaum recommend a film for your consideration, you naturally welcome the opportunity to view it. (In my case, I'd bought this film as part of a package of 4 Westerns, a few years back and having filed it away at the back of the shelf, hadn't happened to notice it, in the meantime.)

The opening shots were familiar enough, and reassuring, but when too much of dialogue followed - much of it too literal and atypical for a Western - I began to fear the worst. Dana Andrews' character being assaulted in his hotel bedroom, under cover of darkness, raised my expectations somewhat, but I gradually got to appreciate why this film has been so infrequently mentioned.

I think other reviewers' comparisons with 'Drums along The Mohawk' are appropriate: doubly so, as that's one of my least-favourite of the 'name' Fords. Perhaps even more than with the Ford, for too much of this film's running length I felt I was being beaten over the head with a history book, and was being shown how it was for those first settlers, confronted by 'savages': being shown,too, how necessary compromises had to be made, to adapt, and at how justice was meted out in those rough-hewn, uncivilised territories (as if I wasn't convinced enough, the barely recognisable Ward Bond - who stole what movie there was to be stolen - was near-savage himself, perhaps for having lived too close for too long with them.) And too many of the characters had 'important' and 'weighty' dialogue to get off their chest. But there were too many scenes that jarred, too: was I really going to believe that a man newly-convicted of murder would be left unguarded, facilitating his friend's setting him free, while those who had imprisoned him were conveniently otherwise occupied; that a young bride, seemingly out of her mind after her home was ransacked by 'savages', should immediately afterwards choose to remain among them, when presented with what seemed an infinitely more attractive option.

Hoagy Carmichael's singing - if not his presence- was a highlight, particularly his rendition of 'Ol' Buttermilk Sky', but I just hated his pseudo-Fool wry commentator. The device worked brilliantly in Shakespeare's 'King Lear', in Kurosawa's 'The Hidden Fortress', and, yes, even 'Star Wars', but just jarred here, so much so that I felt like reaching in and smacking him in the mouth, every time he popped up. Perhaps it didn't help especially, here, for him having to depend on a slovenly low-to-the-ground donkey as his means of transportation: definitely not recommended when you need to escape the clutches of bloodthirsty savages. (I don't even want to consider it, in allegory terms.) Yes, the film looks great, but are you saying you watch Westerns for their beautiful vistas.

Jacques Tourneur directed arguably my all-time favourite film noir, 'Out Of the Past'; he was no slouch in the horror film stakes, either. I keep reading all these claims for him as a Western director; if this really is the best of them, I'll pass, next time. Of course, maybe he was just unlucky with the script.

I never did think of "Canyon Passage" as a western -- more like a frontier-homesteader movie, but it still had the adventure and drama that makes a fine film. I agree with those that said there is something mysteriously appealing about this film, as I have remembered it since it came out in 1946 when so many other movies have long faded from memory. Ward Bond was not known for playing villains, and this performance was truly scary and sinister. Lloyd Bridges plays the friendly good guy that characterized his roles, and Dana Andrews is perfectly cast as the leader. The film is rather hard to find, and I am hoping a DVD will one day be available. It is well worth watching and collecting.

The Oregon wilderness of the 1850s gets stunning treatment in Jacques Tourneur's CANYON PASSAGE starring Dana Andrews, Brian Donlevy and Susan Hayward and introducing Patricia Roc (a British actress) to American audiences. Providing a few songs is Hoagy Carmichael, notably a little ditty called "Ole Buttermilk Sky" which was nominated for an Oscar in '46.

The look of the film immediately draws the viewer in, as Dana Andrews escorts Susan Hayward to a western mining town where she's to meet her fiancé, Brian Donlevy. From the start, we notice that Hayward (more subdued than usual) is interested in Andrews even though she's scheduled to marry Andrews' partner, Donlevy.

Of course, the story takes a few twists and turns as it weaves its way through some breathtaking scenery, with Ward Bond as the film's chief villain, a man called Honey Bragg, who has the Indians on his heels when he murders an Indian girl. But Donlevy is no Mr. Goody either, since it turns out he's stealing gold from the miners. We know he's going to get his comeuppance to provide a happy ending for Andrews and Hayward.

Plotwise, it's old-fashioned stuff that's been done before, but seldom has a film been such a pleasure to watch because of the color photography. Dana Andrews is his usual solid, reliable self and Miss Hayward photographs beautifully in Technicolor.

Not quite as fast-moving as it ought to be, but worth watching anyway.

I was lucky enough to buy a British DVD copy of this little gem - an excellent transfer. Mostly set in the gold-mining town of Jacksonville, Oregon, it's a Technicolor western with a great story, fascinating characters, excellent acting, lovely music, beautiful art direction, costumes and fabulous outdoor scenery. Right from the opening, you get a good feeling of what it was like in Oregon, how people lived and thought; and we're quickly plunged into their lives. Dana Andrews and Susan Hayward are at their best and most beautiful, photographed by Edward Cronjager. Andrews, a scout, turned trader, is not his usual taciturn hero. There's a lightness to him. Susan Hayward's cheeky independence is very appealing, and she looks particularly fresh and beautiful. Patricia Roc, makes her USA movie debut as Dana Andrew's maidenly sweetheart, and Ward Bond is a really scary villain. His menace from his first appearance is palpable I've never seen him photographed to such unnerving effect. Brian Donlevy plays a likable banker, who has a gambling problem, and is accused of murder. Andrews helps him escape a lynch mob, but I'll give no more away. There's even time for a few songs from local minstrel, Hoagy Carmichael. This is director Jacques Tourneur's first western and it seems to me that he brings a very European eye to the production - the overall colouring is ravishing.

The 1940s were a time of transition in the Hollywood movie. This was the age of the film noir, and often those darker, more pessimistic forces were starting to creep into the most unlikely of genre flicks. This being a relatively new phenomenon, often not everyone in the production was on the same wavelength and you could get some odd mismatches of tone. Canyon Passage opens with a town drenched in rain, a sorry-looking figure on horseback weaving his way amid the houses; very different to the usual triumphant ride in from the plains that would kick off your average Western. And yet, this opening is accompanied by very typical, upbeat Western music. Plot-wise, post-production-wise, this is a run-of-the-mill mid-budget horse opera. The only difference is the way it looks.

A lot of this is probably down to director Jacques Tourneur. Canyon Passage was one his first features after leaving Val Lewton's horror-orientated B-unit at RKO, and the clinging darkness of the pictures he made there has stayed with him. Lots of directors have habitually used claustrophobic shot compositions, but the form of Tourneur's are eye-catchingly unique, often putting actors up against the edge of the frame or placing very large objects right before the camera. He often fills the foreground but rarely uses actual close-ups. This can have some unusual effects. When Dana Andrews introduces Susan Hayward and Patricia Roc to each other, Andrews is foreground, centre-screen, his back to the camera, with the two ladies framed either side of him. This very odd-looking set-up sticks out, immediately establishing in the mind of the viewer that there will be some kind of rivalry between the women, doing so with greater impact than a more typical shot would provide. This is perhaps Tourneur's greatest asset – being able to give a very stylised look to the whole picture but still making the key individual moments stand out. This is, I guess, very much a cornerstone of good horror direction as well.

And despite the focus on cramped interiors and dismal towns, Canyon Passage does not neglect that outdoors that is quintessential to the Western genre. Whilst we don't see much of the open plains, this is in fact one of the most beautiful depictions of the mountains and pine forests of the West. Normally the baroque stylings of a director such as Tourneur don't really suit the Western, but the screenplay of Canyon Passage is so bland, its cast so unremarkable (the only standouts being the coolly dramatic Hayward, the loveably dismal Hoagy Carmichael and the sheer oddity of seeing Ward Bond play a villain) that this is one way of making it worth watching. This could never really have been a masterpiece, but its fresh and engaging appearance raises it above the average.

Canyon Passage is the first western directed by Jacques Tourneur. It's a story of life, love and confrontations with Indians in a small frontier village of pioneers in 1850s Oregon, where beautiful exteriors were actually filmed in Technicolor. Canyon Passage is worth seeing mainly for it's visual beauty for in terms of story and acting it has nothing of particular interest. For me it was the most visually beautiful western I've ever seen. 6/10

One of Hollywood's most underrated directors, Jacques Tourneur, puts his stamp on the Western genre with this outstanding pic. He keeps a uniformly excellent cast busy throughout this fast-paced adventure which, though it hands Native Americans short shrift, delivers a keen sense of frontier life amidst some pretty spectacular scenery. There are plenty of movie directors today who could take a lesson from this kind of condensed story-telling. Why doesn't Dana Andrews get more credit these days, I wonder? He was in a list of fine films as long as your arm, and this is another example. Supporting him are Brian Donlevy, Lloyd Bridges, Susan Hayward, Stanley Ridges and dozens more.

It's 1856 Portland, Oregon. Logan Stuart (Dana Andrews) is a successful wilderness businessman. He arrives in town to do some trading and escort his best friend George Camrose (Brian Donlevy)'s girl Lucy Overmire (Susan Hayward) back to Jacksonville, Oregon. He gets attacked by a mystery figure whom he assumes to be his enemy, Honey Bragg. Despite having Caroline Marsh pining for him, he does fall for Lucy.

It's an old style western. There are Indians. There are the natural vistas. It's old style love entanglements and romantic melodramas. Lloyd Bridges is probably the most familiar face for modern audiences. Susan Hayward does her backwoods glamor. It's all an old fashion western.

For the second time in my life I have watched this supposed Noir/horror/ standard Western. I have given it 4 for the Film Noir scenes and the excellent colour. I do not see the Oregon scenery to be that outstanding, and the acting I find mediocre. Susan Hayward who is engaged to a gambler is not at her best, and most of the time I barely noticed her. Dana Andrews is Dana Andrews and clearly a crowd puller, but his acting is in my opinion plain boring. Patricia Roc is not often seen although billed highly and frankly she was better on home ground in the UK. I am not American so I probably miss out on the details that viewers seem to urge other viewers to see again. The film has a plot, but no spoilers as I got lost in it except for the fact that a nasty man has assaulted a Native American woman, and that in response to that there is a massacre of a homestead family. The horror scene is the dragging a woman screaming into the bushes where the Native Americans kill her. It is a nasty scene and sticks in the mind. Lovers change lovers and there are the usual fist fights. Technically the film is perfect, but the content borders on the dull with a number of scenes that seemed to me to be just killing time. Jacques Tourneur was an excellent director, but this is not his finest hour. I understand that others will disagree and I respect that.