Gli avventurieri

'Dodge City' is a slambang western complete with cattle stampedes, runaway trains on fire, saloon fights and all kinds of mayhem--enough action to satisfy the Saturday matinee audiences for which it was probably intended. The taming of the wicked city of the west is left to Errol Flynn, the new sheriff who has to convince the pretty newspaperwoman (de Havilland) that he is not the man she despises for shooting her errant brother (William Lundigan). Ann Sheridan has a cameo role as the saloon singer girlfriend of Bruce Cabot, the main villain of the piece. All of it is photographed in early technicolor that must have been a lot better than current video prints would have us believe. Some of the outdoor scenes are fine but the interiors have a muddy look. Max Steiner has provided a lusty background score for this very robust entertainment that will probably please fans of Errol Flynn and Olivia de Havilland--but it is definitely not their best venture together. Their main love scene while on an outdoor horseback ride in the country is charmingly done--clearly their chemistry made them an ideal screen team. As usual, all of the proceedings are directed with gusto by Michael Curtiz. One of the comedy highlights features Alan Hale who finds himself as the only male attending a women's temperance meeting--before the screen's wildest saloon fight breaks out next door. Fair entertainment but not as solid as it could have been. Compare the color photography to another Flynn western, 'San Antonio' (seven years later)and observe the vast improvement in technicolor photography. Needs restoration for future video prints.

Michael Curtiz directed this large-scale western. Colour is used to great effect in this early experiment with the new process. For the first half of the film, while characters and storyline are being established, the Technicolor palette is restrained, keeping mostly to browns and ochres. As Errol Flynn's character, Wade Hatton, emerges as the hero, colour begins to reinforce meaning. Wade wears a succession of impressive shirts (prussian blue, plum). Others wear plaid, but Wade's shirts are each of a single hue, emphasising his monolithic moral certainty. Wade is a bigger man than the others, and he wears a bigger hat.

Dodge is a wild cattle town. The railhead for transport back to the 'civilised' United States, it is the point to which Texan cattle are driven. The interface of rail and hoof is significant. When the cowpokes hit town after weeks on the trail they have a strong inclination to kick up their heels, and bulging pay packets with which to do it. There is no effective law in Dodge, and gunfights are commonplace. Powerful cattle dealers like Jeff Surrett (Bruce Cabot) cheat the merchants with impunity. Dodge City needs a strong, principled man if it is to change its lawless ways.

The film's opening image is a train hurtling westward at full throttle, a symbol of the burgeoning industrial strength of the USA, and of the Manifest Destiny which is already turning America's energies towards the Pacific and obliterating the frontier. We see the train slicing across the magnificent Kansas plains, and 'racing' the stagecoach. Machines are supplanting horses, and the train wins the race.

Olivia de Havilland is at her wide-eyed prettiest as Abbie Erving, the young woman who treks north with the cattle and eventually falls in love with the handsome sherriff. Flynn is an aussie actor playing an Irishman in Kansas, and both he and de Havilland are terrific as the romantic leads. A young Ann Sheridan plays Ruby the showgirl, Alan Hale is Rusty the abstemious cowhand and Ward Bond is Taylor the minor baddie. Victor Jory has fun playing Yancey, the mean ornery villain with the straggly beard.

Wade Hatton personifies the American Way. An immigrant who has done well for himself by dint of hard work, sharp intelligence and plenty of talent, he is fearless when it comes to protecting the weak or righting wrongs. When the call comes to pin on a badge and restore law and order to Dodge City, he doesn't hesitate. Wade stands up to an angry lynch mob, even though the 'victim' is a worthless crook.

A liberal alliance between the new sherriff and the town's newspaper proposes to bring down the evil Surrett. The newspaper's office has a portrait of Abe Lincoln on the wall. Appropriately, a killer is brought to justice because his hand is stained with indelible printer's ink - serving notice on all bad guys that the Press will always be there to expose wrongdoing.

The clowning is well done. Watch for the cowpoke who has his head driven against a post, or Flynn athletically tripping, falling and being hit in the back by a swing door. Rusty preaches temperance, but is gradually overcome by the tempting sounds of the saloon punch-up.

Wade's clean-up policy is depicted skilfully in the scene where a newspaper headline dissolves into the arrival of peaceful settlers by train, showing us neatly how Dodge is being tamed.

Verdict - A good-natured western with appealing performances by Flynn and de Havilland.

I like Errol Flynn, but I don't think he's at his best in westerns. This one has a "clean up the town" storyline, plenty of action, but perhaps too much comedy, given the course of the plot. For the most part it's a typical product of Warner Brothers' golden era, with Flynn's usual supporting cast, including Olivia de Havilland, Alan Hale, and Guinn Williams.

The film does have one very interesting sequence, especially in light of future movie history. In a saloon scene about halfway through, a group of cowboys with northern roots, or at least Union sympathies, start singing "Marching Through Georgia." Not to be outdone, another group, led by Williams, begins to sing "Dixie." Before long, punches are thrown and a mammoth brawl breaks out.

Sound familiar? Except for the fight, the scene resembles the song duel in "Casablanca", made at Warners three years later. Although the screen writers aren't the same, I have to think this was the inspiration for the battle between "Wacht am Rhein" and "Les Marseilles."

"Dodge City, Kansas - 1872. Longhorn cattle center of the world and wide-open Babylon of the American frontier - packed with settlers, thieves and gunmen".

"Dodge City... rolling in wealth from the great Texas trail-herds... the town that knew no ethics but cash and killing".

Enter trail boss Wade Hatton, cunningly disguised as a dashing Errol Flynn........

Dodge City, an all action Western from start to finish, finds Errol Flynn {in his first Western outing} on tip top form. Based around the story of Wyatt Earp, Michael Curtiz's expensively assembled film charms as much today as it did to audiences back in 1939. All the genre staples are holding the piece together, dastardly villains, pretty gals, wagon train, cattle drive, iron horse, Civil War, shoot outs, fist fights and of course an heroic Sheriff. All neatly folded by the astute and impressive Curtiz. Aided by Sol Polito's fluid Technicolor enhanced photography, and Max Steiner's breezy score, Curtiz's set pieces shine as much as they enthral. A burning runaway train and the finest saloon brawl in cinema are the stand outs, but there are many other high points on which to hang the hat of praise.

Very much a male dominated film, it's with the ladies that Dodge City fails to reach greater heights. Olivia de Havilland, who is always a feast for the eyes in Technicolor, disliked her role as Abbie Irving, and it's not hard to see why. There is not much for her to get her teeth into, it's a simple role that demands nothing other than saying the lines and to look pretty. Ann Sheridan as Ruby Gilman gets the more sparky role, but she sadly doesn't get that much screen time. Which is a shame because what little there is of Sheridan is really rather great.

Those problems aside, it's with the guys that Dodge City is rightly remembered. Flynn attacks the role of Hatton with gusto and a glint in his eye. When he straps on the Sheriff badge for the first time it's akin to Clark Kent shredding his suit to become Superman. Yes it's that exciting. Bruce Cabot and Victor Jory are growly and great villains, while comedy relief comes in the fine form of side-kickers Alan Hale and Guinn 'Big Boy' Williams. Dodge City sets out to entertain, and entertain it does. In a year that saw other notable and lauded Westerns also released {Stagecoach, Jesse James and Destry Rides Again} give credit where credit is due, Dodge City deserves its place amongst those offerings. Most assuredly so as well. 8/10

1939, the greatest year in film history, produced a number of classic westerns (John Ford's STAGECOACH, George Marshall's DESTRY RIDES AGAIN, Cecil B. DeMille's UNION PACIFIC), and while Michael Curtiz' DODGE CITY may not be in quite the same league, it represented a considerable gamble for Warner Brothers, and had a major impact on the career of it's star, Errol Flynn.

Prior to DODGE CITY, there had NEVER been a successful western with a non-American leading man; foreign actors were considered too alien to the settings and action of this most American of genres. But there had never been an actor like Errol Flynn, the wildly successful Tasmanian who had proved himself as comfortable on a horse as with a sword in his hand. Coming off the most prolific year of his career (THE ADVENTURES OF ROBIN HOOD, THE DAWN PATROL), Flynn had become such a box office draw that the WB decided it was worth the risk to star him in a big-budget western.

The risk paid off, as DODGE CITY was a major hit for the studio!

As Wade Hatton, an adventurous 'soldier of fortune' who decides to try his hand herding cattle in the 'Wild West', Flynn looks too boyishly handsome to be true...but teamed (yet again!) with Alan Hale and Guinn 'Big Boy' Williams (a new 'drinking buddy' for his off-screen carousing), he proves himself more than a match against the desperadoes ever present in these films. When his boss, Col. Dodge (veteran WB character actor Henry O'Neill), needs a man to bring law and order to the town named after him, the fast-shooting, incorruptible Hatton (loosely based on Wyatt Earp), is his only choice.

Of course, with Flynn present, it was nearly inevitable that Olivia de Havilland would be on hand, as well, although a tragedy early in the story would delay their romance for a bit. Meanwhile, corrupt town boss Jeff Surrett (Bruce Cabot, another off-screen pal of Flynn), plots to rid 'his' streets of the annoying crusading sheriff.

Adding to the fun is rising star Ann Sheridan, as a saloon singer who is also Surrett's mistress. In her first film with Flynn, she matches his rakish, 'devil-may-care' attitude, and would go on to make two more movies with him (EDGE OF DARKNESS and SILVER RIVER).

Featuring broad comedy by Hale and Williams (including one of the most memorable barroom brawls in screen history), a terrific large-scale climactic shootout, and Flynn and de Havilland's potent on-screen chemistry, DODGE CITY offered audiences all the elements they expected in a western...with Technicolor (one of the first major westerns to use it), and a famous Max Steiner score, to 'sweeten' the mix.

There is a curious twist at the film's end; Dodge City now tamed, Col. Dodge informs our heroes that another community, Virginia City, needs their help, in what looks like an obvious lead-in for a sequel. While VIRGINIA CITY would be made, in 1940, again directed by Curtiz, with a Max Steiner score that repeated the DODGE CITY themes, and starring Flynn, Hale, and Williams, their names would be different, and the film would NOT be a sequel to DODGE CITY!

With the success of DODGE CITY, Errol Flynn proved his profitability in westerns, which would became a staple of his career. He made a total of eight at the WB over eleven years, and, in fact, made more westerns than swashbucklers OR war movies.

The western 'experiment' completed, Flynn and de Havilland now returned to tights and medieval gowns, to join Bette Davis in THE PRIVATE LIVES OF ELIZABETH AND ESSEX...