L'uomo del West

Samuel Goldwyn's The Westerner would be considered a good western about that old familiar topic in westerns, the cattlemen versus the homesteaders. Gary Cooper is his usual tall in the saddle hero whose presence brings about a general righting of wrongs.

Except that Mr. Goldwyn had the presence of mind to cast Walter Brennan as Judge Roy Bean, local head honcho of the area around Vinegarroon, Texas. With William Wyler directing Brennan etches an unforgettable film portrayal of a man who's both ruthless in enforcing his will on the territory and a likable sort of cuss once you get to know him.

Brennan has one weakness, as the legends have it in the west, he's crushing out big time of famed English actress Lily Langtry. When Gary Cooper is brought into Brennan's courtroom which in off hours is also a saloon, a little quick thinking on his part upon seeing Langtry's portrait over the bar saves his life.

Despite Cooper's friendship with the judge, he's also taken an interest in homesteader Fred Stone's daughter, Doris Davenport. It's inevitable that Cooper and Brennan come to a parting of the ways.

Wyler who is not a director of westerns per se has directed a couple of good ones and this is one of them. There are some good action scenes here, there are some scenes laced with humor when Brennan is around, and the romance is nicely handled.

Dana Andrews and Forrest Tucker got their first notice in The Westerner as well in small parts. But it's Brennan's show.

Walter Brennan won his third Best Supporting Actor Oscar with this film. This was the fifth year the Supporting Player categories were being awarded by the Academy and Brennan won numbers one and three previously.

Western fans will like The Westerner in any event and others will watch it to see a master craftsman in Walter Brennan at his job.

"The Westerner" (1940): Directed by William Wyler, starring Gary Cooper and Walter Brennen. On one level, this is a classic tale of the Old West as it struggled through a transition of re-settlement. Depicted as such, it is a beautifully photographed, well acted, gritty, weird, funny, and emotional story. But, this film was also made in 1940. The Germans had begun their sweep across Europe, they were breaking treaties as fast as necessary, and non-militarized countries could not withstand the armed renegade country bent on following no rules but its own. To think that this was not on the minds of "The Westerner's" writers, directors, and audience, would be naïve. It's a perfect representation of current events in Europe, England, and America – as of 1940. (1941 would change that.) I found it fascinating from this perspective – watching it with something of the same gut level understanding that people in that time would have certainly felt. Cooper was the outsider who had no real attachments and wanted to remain isolated – keeping his freedom and avoiding entanglements. The town, run by despot Judge Roy Bean, made their own laws, convicted everyone in their way, and hung them without a second thought. The farmers were seen as an impediment to their expanding ideas which required more and more land and water. Cooper was drawn into the battle of ideologies, and attempted to become the ambassador aiming for peace, not war. He moved slowly, and lost the trust of everyone – until it was made very clear to him that the aggressors had no intention of honoring promises. It was time to take sides. It is PERFECT representation of that, and our (we, the Westerners), time.

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.

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

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.