The Westerner

The Westerner will seldom make it on anyone's top ten westerns list, even one compiled by those of us who haven't succumbed to the garlicky charms of the Man with No Name. But this is one of the top notch hay-consumers of all time, make no mistake.

What can you say about Gary Cooper that has not already been voiced over and over. His beautifully understated acting style, the subtle twitches and raised eyebrows. His bearing. The way he sits a horse, as only someone who grew up on a Montana ranch can. The sure enough Western accent. Had he discovered the ear-pull yet, I didn't notice it in this one. Until watching this movie on a newly restored DVD tonight, I had not seen it in 20 years, and had come to think of it as more of a Walter Brennan movie. I was wrong. Brennan was there with all his fine tools, all right, and he royally deserved his best-supporting award, but that is what his role was. When it's a Gary Cooper movie, it's a Gary Cooper movie. Never having been a fan of High Noon, I had thought maybe Dallas or Vera Cruz were Coop's best westerns. But The Westerner gives us the definitive Gary Cooper.

The movie is handsomely turned out in the sensuously luminous black and white cinematography, fluid editing and silky-smooth scene changes we have come to accept as standard for top studio productions of the late 'thirties, 'forties era, and every cinematic effect is enhanced by a stirring Dimitri Tiomin score. The sets and costumes are superb with a much more authentic look and feel for the old west than most westerns before or since. The clothes of both the men and women, both the cowboys and the farmers, the gun leather, and the buildings, are all unusually accurate to the time and place. Refreshingly, the heroine of our piece, sensitively and strongly played by the beautiful but obscure Doris Davenport, wears a long, feminine dress and uses a wagon for transportation, rather than wearing men's jeans and riding astraddle a horse with her Tangee lipstick blaring as we see in so many great and small westerns. All the other characters, both male and female, come off like real 19th century men and women, not products of the time in which the film was made. William Wyler's direction is virtually flawless with just the right blend of action, tension, and humor. But considering the acting talent, the cinematographers, lighting specialists, art directors, and other technical help any director in the awesomely efficient big studio systems of the time had available, maybe he just knew how to stay out of the way.

Walter Brennan stars as Judge Roy Bean, the legendary self appointed law west of the Pecos in Texas. He uses whoever happens to be in his saloon as a jury, and the penalty of death is often dispensed for killing or stealing the animals of others.

At this time Cole Harden (Gary Cooper) is brought to the judge for stealing a horse. Cole claims he bought this horse, although he admits the person he bought it from may have stolen it from the original owner. The judge is not impressed, and he can tell neither is the jury. So while the jury deliberates, Cole makes conversation with the judge, figures out he is obsessed with British actress Lillie Langtry, and talks about the time he met her, and about the lock of her hair that he has back in El Paso. Then the jury comes back with the expected guilty verdict. The judge defers Cole's sentence until he can look into matters more, since he says that no friend of Lillie Langtry could be a horse thief. Plus Bean really wants to hear more of Cole's tales of meeting Lillie Langry, and he really wants to see that lock of hair. Later, luck would have it that the actual horse thief wanders into Judge Bean's bar. When Cole shows that he still has the sixty dollars that he paid for the horse on him, there is a shootout and Bean shoots the actual thief dead, freeing Cole.

What I just described is the best part of the film. And I really haven't spoiled anything by telling you this since the art of it is in Brennan's and Cooper's delivery and the chemistry that they had together. But because an entire feature film is needed, there is a significant subplot about the judge being pro cattleman and thus backing people who sabotage the farming homesteaders nearby. This subplot is not that compelling and neither is the romance between Cooper's Cole and one of the daughters of the homesteaders, played by Doris Davenport. Davenport wasn't a very interesting actress, and she had only one other credited role the same year this film came out before leaving acting entirely.

I'd say watch it for probably the best thing Walter Brennan ever did and the great chemistry he had with Gary Cooper, but that the rest of the film, when Cooper and Brennan are not interacting, can be a bit of a bore.

This western film features several top elements that help make it a classic in its genre. Director Wyler was regarded by many people as one of the all time greats. Cinematographer Toland was also a well-respected presence in his field. Producer Goldwyn was famed for his attention to quality. (This trio had, in fact, just made "Wuthering Heights together the year before.) Then, of course, there is the delightful (and Oscar-winning) presence of famed character actor Brennan as Judge Roy Bean. This is not in any way discounting the work of Cooper who is highly effective and appealing here as well. Cooper plays the title character, a drifter who has the unlucky prospect of having to appear before the notorious "hangin' judge" Brennan. Once his case is settled, he forms an uneasy alliance with Brennan, while also sticking around long enough to help damsel in distress Davenport. Before long, he's in the middle of a range war between cattle ranchers and farmers all being unfairly presided over by Brennan (who has an undue fascination with the actress Lily Langtry.) Cooper is gorgeous in this film and gives a strong performance (despite his documented disinterest in it due to the knowledge that Brennan had the best part.) Brennan predictably steals most every scene he's in in a part that is more co-starring than supporting. Still, his rapport with Cooper is what gives his role meaning. Although riddled with what are now cliches, the script is full of neat touches between the two men. It's not every day a viewer catches Gary Cooper waking up drunk in a twin bed with Walter Brennan's arm around him! This sequence (as well as one earlier when the two men square off over "a drink") is priceless. There's also a memorable showdown in an opera house. Davenport makes a lovely, if unusual heroine (earthier and less slender than many leading ladies of her day.) She would retire shortly after this film. Tucker will be almost unrecognizable to his fans from "F Troop" and other later works of his. Andrews is given very little to do. The film might have been better off with a more apt title as it's less the story of "The Westerner" than it is an observation of the relationship between these two men.

This film focuses on the relationship between Judge Roy Bean and a stranger who rides into his town against the backdrop of conflict between homesteaders and cattle men. While Cooper has one of his best roles, Brennan steals the film in a marvelous performance as Bean that brought him his third Oscar in four years. Cooper and Brennan have great chemistry, and the film is at its best during the earlier parts when the two are engaged in witty banter about Lily Langtry, the actress than Bean is obsessed with. Davenport, who would make only one other film before retiring at age 23, is fine as Cooper's love interest. As usual, Wyler's direction is impeccable.

The Westerner is directed by William Wyler and written by Niven Busch, Jo Swerling and Stuart N. Lake. It stars Gary Cooper, Walter Brennan, Fred Stone and Doris Davenport. Music is by Dimitri Tiomkin and cinematography by Gregg Toland.

Story is a fictionalised account about Judge Roy Bean (Brennan), who here rules Vingaroon Town by his own law and punishment. When suspected horse thief Cole Harden (Cooper) comes under his judicial system, they become odd friends due to Harden claiming to know personally Lily Langtree - the object of Bean's worship.

Lots of uncredited work was involved in the making of The Westerner, while Cooper famously sulked about not having the main character role, so much so his part was expanded and he performed under contract but under protest! Fact is is that it is as everyone has said before, Brennan steals the film regardless, winning a Best Supporting Actor Oscar in the process. Cooper needn't have worried, he's very good here, turning in a number of various strains to Harden's character, bouncing off of Brennan to the pics eternal benefit.

At the core of the plot is a good old fashioned thread involving Homesteaders versus Cattlemen, with Bean throwing his weight around and Harden forced to reevaluate his standing in the town when he falls for Jane Ellen Mathews (Davenport). The Lily Langtree (Lilian Bond) strand gives the pic an offbeat sensibility, making this a sort of dramatic comedy oater, but it works really well. Toland's photography is superb, sharp black and white sequences are given ethereal qualities, hinting at the fact this at times fun picture might be leading to a darker path?

Davenport is weak and most of the supporting players struggle to make much of an impact, but come the attention grabbing finale you know you have been fed a wholesome western of substance. Propelled by two acting legends. 7/10