Le frontiere dell'odio

Plot-- An ex-Confederate officer turned trick-shot artist is enlisted by townsfolk looking to get their copper ore past a crooked sheriff and his men. At the same time, he has to deal with a glamorous saloon girl whose allegiance sort of wobbles.

When I think westerns, LaMarr and Milland don't come readily to mind. Here they're just okay, though I'm sure their names looked good on the marquee. Though Milland can project grit, he's too laid-back (unmotivated?) here to anchor an action movie. He's better when he's just a smooth trick-shot artist. Then too, LaMarr projects a lot more beauty than the emotion needed for her tricky role. Her part unfortunately calls for a stronger, more Stanwyck-type personality, as others point out. Nonetheless, the production does have two things going for it. First is the great red rock scenery of Sedona, AZ, familiar from a hundred other big budget oaters, but well- staged and photographed here. Second is Macdonald Carey who delivers much needed spark and energy as the conniving bad guy. Then too, no film that includes exotica like the gnomish Percy Helton (Scamper) or the amazonian Hope Emerson (Ma Tarbet) can afford to be overlooked.

Anyway, the movie's a decent time-passer, but lacks the tightness and force needed to really register.

Hedy Lamarr decided to go west following in the footsteps of Marlene Dietrich who saw Destry Rides Again rejuvenate her career. I'm sure that was why she decided to do Copper Canyon where she was saloon girl villainess who falls big time for fancy sharp shooter Ray Milland who brings his trick shot act into her town and saloon.

Milland arouses the jealousy of crooked sheriff Macdonald Carey. But Milland has a past of his own. He's a former Confederate colonel who robbed a Yankee payroll in escaping before the war ended. He's a hunted man for that reason though the local hunter, army lieutenant Harry Carey, Jr. really hasn't got his heart in the job.

Milland's been sent for because the local copper mine smelter with the connivance of Carey has been exploiting the Confederate veterans. His prowess with weapons comes in mighty handy before the film is over.

It's a good, not great western, but the reason it became popular because of the title tune which is heard, but not sung in the soundtrack. Young Teresa Brewer had a hit record of it back in the day.

Copper Canyon didn't really give Hedy Lamarr the Dietrich like assist in her career. Still she does fine and it's a good Saturday afternoon film for enjoyment.

As often throughout his long-running career, urbane Wales born Ray Milland takes on a role that seems on the surface atypical for his native skills, in this instance as Johnny Carter, a vaudeville trick shot artist who was formerly Colonel Desmond, a Confederate Army hero, now coming to the postwar West in search of financial profit and romantic adventure. Although the war is past, Desmond's ability as a military leader is sought by a group of ex-Confederate soldiers, now employed at copper mining, and needful of tactical shelter from a corrupt combine composed of former Union soldiers and mercenary lawmen that does not stop short of murder in preventing the Southerners from transporting their ore to be smelted. Desmond is reluctant to become involved in this affray and we learn that he is sought for the theft of $20000 which he took from the commandant's office in a Union prison camp upon his escape from that establishment, and is therefore determined to hide his true identity within his posture as Carter the entertainer. Through married complexities in the scenario, Desmond is convinced that he should assist his former compatriots and this gives Milland an opportunity to become engaged in a series of highly kinetic adventures involving riding, shooting and, in general, making of himself a nuisance to the villains of this cinematic western romp. On the distaff side, an extraordinarily beautiful Hedy Lamarr is impressive in an ambiguous role as an adventuress from New Orleans who may or may not be allied with the forces of evil, and there are fine portrayals by Mona Freeman, Peggy Knudsen, and giantess Hope Emerson as a dance proprietress. The cast is strengthened by Macdonald Carey as the primary villain of the piece, and he dominates virtually every scene that he is in, and there are solid performances from James Burke, impish Percy Kelton, and Harry Carey, Jr. as a Union officer in love with Caroline Desmond (Freeman), daughter of the patriarch of the miners. Filmed in Technicolor, COPPER CANYON is easy upon the eyes, and the post of director is capably filled by John Farrow, who deals nicely with an overabundance of subplots, yet who concentrates upon those elements which will move the action along smartly, yet allow for development of character. Unfortunately, the production is heavily cut and there are some instances of ragged editing, with a result that the climax and weaving of loose ends is stunningly rushed, and what might have been a standout motion picture must remain at present a pleasant bagatelle of its genre.

Copper Canyon is directed by John Farrow and written by John Latimer. It stars Ray Milland, Hedy Lamarr, Macdonald Carey, Mona Freeman and Harry Carey Junior. Music is by Daniele Amfitheatrof and cinematography by Charles Lang.

In the bitter period after the Civil War a band of Confederate veterans hoped to start life anew in the rich copper country of the West. They were prepared for the hardships of nature - but not for the greed of men.

Much of this production is beautiful and handsome, tech credits are high end, the Technicolor sizzling, costuming sharp, the locations (Vasquez Rocks/Red Rock Crossing/Cathedral Rock et al) a joy for the eyes. Then of course there's the stars, Milland with his elegant looks, Lamarr cute as a button with blood red lips, and Freeman, a classic beauty if ever there was one. So it's with a touch of sadness to report that prettiness is what you ultimately remember most about the pic.

Story relies of a filmic Civil War trait that has Yankees and Rebs still feuding post the war, on this occasion the Union people are trying to drive out the Confederates who are trying to make hay (copper) while the sun shines on copper canyon. Enter Milland, who is thought to be an ex Confederate leader now plying his trade as a magician/entertainer/marksman etc. Denying he is the ex soldier in question, he nonetheless gets well and truly involved in things, including courting Lamarr, who may or may not be the axis of the pain brought down on the Confederate miners.

The mystery angle involving the principals remains intriguing for the most part, and as old hat as it is, the good guy bad guy shenanigans (Mac Carey of course on chief villain duties) is fun viewing. There's splashes of action, with shootings and chases, the best of the latter unfurling through magnificent scenery, while the big battle at film's end is action packed - even if it is sadly a false dawn since the big face off is a damp squib. But in spite of the beauty and the highlights it still remains a nothing piece, a bit of dressage over substance.

It really should have been something more, something other than a pretty play kinda going through the motions. Frustrating. 6/10

The story is set on post-Civil War day where some copper miners , Confederate veterans , are blackmailed by Southern towners commanded by deputy Lane Travis (Donald McCarey) and his hoodlums . The copper-miners ask marksman nonpareil named Johnny Carter ( Ray Milland ) to help them , under the consideration that he is the former Southern Colonel Desmond . When the Johnny's spectacle comes to Coppertown he falls in love with the femme fatal Lisa Roselle ( Hedy Lamarr ) , whom the miners believe is at the origin of their problems . Later on , Johnny Carter assists fellow Sourtherners who are been continuously harassed by towner rebel-haters . Southern people attempt to transport a copper shipment from Coppertown until Mesa City when are attacked and beleaguered by local deputies .

This is an acceptable Western full of action , thrills , shootouts , romance and wonderful scenarios . Ray Milland faces with decision his role as Confederate veteran disguised as stage sharpshooter and of course a gorgeous Hedy Lamarr as lovely and astute gambler . Ample and agreeable support cast as Harry Carey Jr , Mona Freeman , Frank Faylen and eternal secondary Ian Wolfe . Special mention to Hope Emerson as robust Saloon-keeper. Colorist cinematography in glimmer Technicolor by Charles Lang and atmospheric score by Daniel Amfiteatrofh who includes splendid musical background on the main titles . The picture is fine and professionally directed by John Farrow . He was a veteran writer , producer and director who made several films as hits as flops . He directed various Western as ¨Hondo¨ , ¨Ride vaquero¨ , ¨California¨ and ¨Copper canyon¨ , among others . Rating : Passable Western that will appeal to Ray Milland and Hedy Lamarr fans .