Terra lontana

In this very watchable and highly entertaining western {shot in Canadian Northwest} it plays with all the veracity and dishonesty that marked the 'OL WEST and Klondike rush of period.With breathtaking photography and backdrop of big unconquered Alaska,we are taken on tour with Jimmy Stewart and crew to witness the fervor and passion that marked the hunt for GOLD. Chock full of twists and turns and double crosses it both seeks to give dramatic portrayal and morality play lesson on life and times of grub-stake dwellers and their thirst for riches.Very notable,given it's place in history and importance during that era.Men were of all types,per usual,however their motivations for a pot of gold and better life was never better displayed with a western accent and horses Vs.Dogs as vehicle of transport. With a cast of significant players,John McIntire {Top Hat wearing local magistrate} and Walter Brennan {side kick and partner to Stewart} and lovely but too strong-willed independent lassie Ruth Roman on hand to make believably interesting ,the movie never fails to be fun and gripping.I couldn't find any weak spots,where either action or interest lulls.Very good sign of filmmaking,to let the movie play out with nary a weak or insignificant scene.One of the main reasons for my big approval of.The scenes all play and build upon one another,with such ease as to seem effortless.Another good sign. The actual filming of backdrop and landscape is as good as it gets for any picture.Whether it was shot in early Cinemascope or Technicolor ,it should have bragging rights for production value and credibility.The color was never truer or richer and as clear as that bell 'OL Walter kept talkin about,that he gave his fiercely self-reliant and sometimes cold of heart buddy-Stewart.Speaking of which,he goes thru kind of transformation during scenes and starts caring more about his fellow frontier blazing man,which can be both hazardous and rewarding for his character.Since Stewart personified the ordinary man,and his pursuit of happiness or just life,he doesn't fail to deliever the gods here,except to the extent upon which he is brazen about many men in general,since crooks,liers and killer's were in abundance.Who better than cinema's Jimmy to sing praises of or cast dispersions upon one's character. The action is very real and true to storyline,giving added impact to all characters where needed.I particularly liked McIntire as a scalawag who talks big and with authority and seems almost honest to a fault until his ulterior motives {as big as the landscape} become realized. He stands out as one of the best bad guys in this genre of film,ever. Ruth Roman tries to usurp her presence with a combination of riches and wily ways,and mostly to the chagrin of Stewart,who is caught up in the middle.But to ease his entanglements along the way and steer clear of ever present danger,is old timer Brennan to the rescue.He innocent enough and only wants the best for the two,being too easily pleased with condition of their fate,wanting only early place to retire and pot after pot of coffee.He adds element of moral support and buddy vehicle to film.Good touch.Other cast are authentic and visual,if not vocal upon command and lend to texture of storyline. I highly recommend this visual and gripping action yarn,with story and plot working in conjunction for an unique movie experience.I was never bored or lacked enthusiasm throuhgout.Which is not easy to say of action/western flicks. 5 out of 5 star or 10/10 for entertaining and true-felt action that beholds with view.

Now, admittedly, I'm no ardent student of the genre. As a matter of fact, I've tended always to shy away from Westerns because, in spite of all their critical cachet as America's primal stories (or whatever), they seem to me to forever devolve into tiresome retreads of either "shoot up the Injuns," "the big gunfight," or "Hey, let's form a posse!" In other words, it always seemed to me a genre so rooted in and tied to convention, that it left precious little room for surprise or originality. (And yes, I HAVE seen at least some of the so-called "greats", and unapologetically lump them into this negative assessment - including Stagecoach, Rio Bravo, My Darling Clementine, and of course the infamous [but profoundly dull] Clint Eastwood-Sergio Leone teamups in the '60s.)

But when I saw this movie on TV - as part of a commemorative Jimmy Stewart weekend upon his death - I finally GOT IT: I understood, at least in theory, what the Western mythos has to offer as a serious thematic preoccupation (aside from just action and thrills). It is the push-pull between lawlessness and order; the American West represented freedom, but also the prospect of the wild, the untamed. Respectable folk could get hurt out there. Which, of course, meant that perhaps - just perhaps - it wasn't meant for respectable folk, and that the only residents should be the amoral and the shifty, those who dispensed justice strictly from the barrel of their revolvers, and where kill or be killed would ever be the law of the land. In such an environment, of course, the true heroes are the ones who are ornery and free-spirited enough to be out there in the first place (and so reject "society," at least as it manifested itself on the Eastern seaboard), and yet have enough sense of justice to believe that a society based on chaos and fear just IS NOT RIGHT. Catching and examining that disparity between law and disorder IN THE MAIN CHARACTER HIMSELF is, I believe (after seeing this movie), the highest and truest goal of any Western. Sadly, it is so often not the case, as the white hats are completely white, the black ones completely black (and let's not even get started talking about the Indians, ok) and there is precious little shades of gray in between.

Not in this one. Jimmy Stewart plays a blatant fortune hunter who follows the trail of miners before him into the Alaskan wilderness to prospect for gold. He is joined in this by his lifelong buddy, played by Walter Brennan (perhaps the Western cliché character to end them all - but nevertheless enjoyable here, as always) - and no one else. Pointedly, they are out for themselves, and while Stewart displays his patented charm (come on, we could never really dislike the guy, now could we?), we are left with little doubt that his is basically a self-centered, self-interested character: none of his "Gosh" or "Oh golly gee" humanism is allowed to come through. Or, rather, it has to be EARNED, by the end of the picture, in the way I described above. He must confront the lawlessness in himself, and weigh it against the need for order and justice which are so blatantly lacking in the border town which serves as the miners' starting point on their gold dust trail. This town is ruled tightly by its wicked sheriff, Mr. Gannon, played by John McIntire in one of the best "bad guy" performances I've ever seen. He comes on with so much charm and humor, and has such a relaxed and interesting rapport with Stewart, that it actually takes awhile to recognize that he *is* the bad guy - so that when it finally sinks in, it does so with double force. Further, by establishing a type of breezy (if necessarily guarded) camaraderie between McIntire and Stewart, the film plays up the notion of how close in temperament they really are - and so how far a moral distance Stewart must walk by the end of the film.

I won't go through all the twists and turns the plot takes - see those for yourself (as well as the rugged and gorgeous Alaskan scenery - filmed on location, mind you, not cheap painted stills that the studio made up). What's key here is how much this story focuses upon character, with great dialogue and character interaction substituting for gunplay much of the time - although the film has just enough action and adventure to prevent it from ever being static (read: "talky"). Definitely one of the greatest performances I've seen from Stewart, showing he could play the renegade, the "man's man" just as convincingly as the decent and upright guy next door. If anything, in fact, his "everyman" qualities lend greater strength to his characterization, making him seem less mythic or overblown - -like, say, Eastwood or John Wayne - and more a three-dimensional personage. His relationship with Brennan is well-played: understated, but nevertheless touching (with a faint suggestion of George and Lenny from "Of Mice and Men" - an altogether different type of "western").

I certainly have more Westerns to see, but this is for now my favorite, and the yardstick by which I will necessarily judge all the others. It deserves to be much better known and appreciated than it is.

Cunning Western from a director who had few peers in the genre. Much like other Anthony Mann pictures, The Far Country blends a potent pot boiling story with an adroit knowing of impacting scenery. Both of which play out amongst some of Mann's peccadilloes like honour, integrity, betrayal and of course, death!

The story sees fortune hunting partners Jeff Webster (James Stewart) and Ben Tatum (Walter Brennan) travel to Oregon Territory with a herd of cattle. Aware of the blossoming gold-boom, they plan to make a tidy profit selling the cattle in a Klondike town. Arriving in Skagway they find self-appointed judge Mr. Gannon (John McIntire) ready to meet out justice to Webster on account of Webster having fractured the law, all be it with honest cause, along the way. In punishment Gannon takes the partners herd from them, but they steal them back and head across the Canadian border to Dawson - with Gannon and his men in hot pursuit. Here beautiful women and a meek and lawless town will fill out the destinies of all involved.

Interesting from start to finish, The Far Country benefits greatly from James Stewart's bubbling (anti) hero in waiting portrayal and Mann's slick direction of the tight Borden Chase script. The cinematography from William H. Daniels is superlative, though not done any favours by current DVD prints, and the film has a few surprises and a "will he wont he?" core that's reeling the viewers in.

Paying dividends on re-watches for hardened genre fans, it still remains something of an essential viewing for first timers venturing into the wonderful, yet dark, Western world of Anthony Mann and James Stewart. 8/10

Cowboys James Stewart and Walter Brennan take their herd from Seattle to Alaska and on into Canada to stake a claim. Once there, they have to contend with seductive, shifty businesswoman Ruth Roman and ice-cold, happy-go-lucky villain James McIntire.

John Wayne may get talked about more, but his good pal Stewart made some excellent, hard-edged westerns too, some with the great director Anthony Mann. Frankly, I'd take this, with it's sturdy action sequences and fine melodrama, over North To Alaska any day!

The Far Country features some breathtaking scenery and cinematography that should definitely have been shot in widescreen.

Also, there's some strong support by the always reliable Brennan, Roman (who's great), the incredibly cute Corrine Calvet, and James McIntire, who plays one of my favorite types of bad guy, the kind that doesn't take himself too seriously.

This would make a great double-bill with another highly recommended Mann/Stewart northwest-set western, Bend Of The River.

Mann photographs the Alberta Rocky Mountains in a superb fashion, and Jimmy Stewart and Walter Brennan give enjoyable performances as they always seem to do.

But come on Hollywood - a Mountie telling the people of Dawson City, Yukon to elect themselves a marshal (yes a marshal!) and to enforce the law themselves, then gunfighters battling it out on the streets for control of the town?

Nothing even remotely resembling that happened on the Canadian side of the border during the Klondike gold rush. Mr. Mann and company appear to have mistaken Dawson City for Deadwood, the Canadian North for the American Wild West.

Canadian viewers be prepared for a Reefer Madness type of enjoyable howl with this ludicrous plot, or, to shake your head in disgust.