The Hanging Tree

Hanging Tree, The (1959)

*** (out of 4)

Underrated Western about a doctor (Gary Cooper) with a mysterious past who saves a criminal (Karl Swenson) from being hanged. Later the doctor begins to care for a woman (Maria Schell) whose father was killed in a stagecoach robbery, which also left her badly burned and blind. As the doctor and the woman become closer there are a few in town who begin to think they're up to no good. There's a lot more going on in this Western and it's certainly unlike many that were being made around this period because if you're expecting some sort of shoot 'em up then you're going to be disappointed. I'd have no problem recommending this film to people but at the same time there's no question that it's not going to be for everyone. Those who do appreciate its laid back nature and the more plot-driven device should end up having a good time with it. You also have a terrific cast delivers some very good performances with Cooper leading the way. Around this time James Stewart was showing off his dark side with various Alfred Hitchcock films and it seems Cooper wanted to show off he could do the same thing. The funny thing is that the screenplay allows him to show a dark and good side, which might seem like a cop out but it really isn't. There's an early scene where a poor family brings their sick daughter and the only reason she's sick is because of a lack of food. The tenderness Cooper shows during this scene is why everyone loves him. Then, later in the film, the darkness he shows when his past comes back to him is perfectly handled by the actor. Schell and Swenson are both very good in their roles and play well against Cooper. The supporting cast features Karl Malden playing a pervert who begins to have certain sexual feelings towards the girl. George C. Scott appears in a few scenes playing a drunken Christian who believes Cooper is the devil due to his medicine. The film works on a lot of levels and there's no question a large portion of the film is dedicated to the love story but this works as well. I really enjoyed how the screenplay mixed everything together because we get the love story, the gold rush action and then the character development, which leads up to an action-packed ending and a rather nice finish to things. The film contains some very good cinematography and the color picks up every terrific location shot. THE HANGING TREE has gotten a good sized cult following over the past several years and it's easy to see why as it features the great performances as well as a story that isn't typical told in the genre from this period.

Little known, this Western gem has not attracted the attention or appreciation it deserves. Gary Cooper's Doc Frail is to me the most interesting of his Western heroes, much more complex than the Will Kane of "High Noon." He is a man of sharp contrast, kind but domineering, compassionate but unyielding, a healer but a killer, strong but at the same time frail. He draws people towards him, only to keep them at a distance when they get too close because of a tragic incident in his past, one he can neither forget nor allow to ever happen again. He is a vagabond, moving from gold camp to gold camp to set up his services as a doctor, without hope of ever settling down. Into his life come two key figures bound to change it. One is Rune, a young thief whom he rescues from the hanging tree, and they are bonded together. The other is Elizabeth, a young woman from Switzerland who has come with her father to find a new life in the gold camps. After a stagecoach accident, Doc Frail must cure her, both body and spirit, and she loves him for it, a love he cannot accept. He would send her back to her country; she stubbornly refuses and eventually partners in a gold claim with Frenchy (played by the marvelous Karl Malden), a man with lust in his heart for both gold and women. The emphasis on character lifts this film above the realm of the ordinary. Add to that a memorable title song sung by Marty Robbins, an appealing music score by Max Steiner, a no-nonsense script based on a story by Dorothy Johnson and on location filming in the mountains outside of Yakima, Washington, and what you have is one really fine Western.

Gary, for that movie, was Doc Joe Frail. Maria, sister of Maximilian Schell, became Elizabeth Malher. Everything that happened to Frail seemed real. He healed Elizabeth's blindness but feared loving her because of his past. There was the guilt from the tragedy he carried, the fear of someone finding out. The jealousy and anger of people waiting and wanting to take Doc's life for his past and, mostly, the fortune.

Frenchy Plante is played by Karl Malden. He is a fortune hunter with a drinking problem. Karl was one of two directors who made this film. Delmar Daves was in charge of the beginning and middle. Karl did the finishing work. By that time, Mulden had 20 movies under his belt.

George C. Scott is Dr. George Grubb, a Bible toting, Scripture spouting fiend. He is not a particularly nice person. He targets Doc Frail and goes after him. This is Scott's first credited role and he carries it off very well.

Jerry Livingston does the title theme. "The Hanging Tree". It was sung in the movie by one of my favorites, Marty Robbins. He, also, made it popular to the public through radio and records. Now I have a CD of "The Best of Marty Robbins" that I have introduced to my grandson. I want him (and our other grandkids) to know about something besides today's music.

Just for some aside information: The only cast member, of this movie, still living is Karl Malden. He turned 94 in March of 2006. Wow, what a life he's had!

Travelers pass by the Hanging Tree on the Gold Trail in Montana, 1873. Joseph Frail (Gary Cooper) arrives at the small gold mining town of Skull Creek, Montana. He buys a home from an old prospector eager to sell. He treats Rune for a suspicious bullet wound. Frenchy Plante (Karl Malden) is a slimy local. George Grubb (George C. Scott) is a bitter drunken faith healer. Frail is a card-playing, hard-hitting, gun-slinging doctor with a dark history and a heart of gold. A stagecoach is attacked. The posse finds passenger Elizabeth Mahler barely alive and blinded.

It's an interesting western for the most part. I'm conflicted with the third act. I like some of it. I like the idea of Frail and Elizabeth. I don't see how Elizabeth would partner up with Frenchy with his slimy nature. Going wild is highly ill-conceived which is exactly why no one should partner up with Frenchy. If I hit the jackpot in that place, I would try to hide it for as long as possible and arm up. Still, I like a lot of the premise with Frail and Elizabeth. It's a good western.

No need to recap the sprawling plot.

For a western, the movie is generously produced. The Washington state locations are scenic as heck and a great backdrop to the rushing crowds and boisterous miners. In fact, the gold camp recreation is one of the most realistic I've seen. Then too, the production has one of the most underrated directors of westerns of the period, Delmer Daves, whose list includes such classics as 3:10 to Yuma (1957), Jubal (1956),and the generally overlooked Cowboy (1958). All of these are tightly written and efficiently directed little gems.

But I have to say that despite the first-rate production values and a first-rate cast, this more epic sized western doesn't achieve the impact of Daves' smaller movies. The problem is a loose script and a dawdling camera that stretches out the dramatics and the movie's length to a sometimes tedious degree. I'm guessing that Warner Bros. wanted a production equal to Gary Cooper's iconic standing. I suspect they were also promoting newcomer Schell's career, and thus much time is split between her, Cooper, and the always reliable Malden. All perform well, but add up to bits and pieces that don't fit together very well, while padding the screen time unnecessarily.

I wish Scott's truly fearsome religious zealot had gotten a bigger role. He might have made the movie memorable, so strong is his spotty presence. Something I don't usually notice in films is the movie score. But here the music is blended nicely into the screenplay, without overdoing it. Perhaps revealingly, this is Daves' final western. From here, he went on to teenage fare, such as the blockbuster A Summer Place (1959) that despite its teen angst of the day is not without notable compensations. Anyway, this film's a scenic delight at the same time the narrative unfortunately is not, which adds up to a very mixed result.