Romantico avventuriero

There are a handful of western films that have immersed me in the story and the characters so effectively that I never grow tired of viewing them. Even though I may have seen the film fifty times or more, I get so involved in the film that I hope that one plot element will change and the story will have a different ending. Those films are: "High Noon", "Shane", "The Shootist" and "The Gunfighter".

It was Peck's idea for Jimmy Ringo to have a mustache--to Fox studio head Darryl Zanuck's disgust. Zanuck thought that moviegoers liked to see a clean-shaven Peck. The picture was not a box office success at the time, but it ranks among the Top 10 western films of all time in my book.

THE GUNFIGHTER is the seventh western movie I've watched in the last couple of weeks in my quest to catch up with a bunch of films I've never seen that I recorded from TV. And I've made sure I've posted a review as I viewed each for the first time.

THE GUNFIGHTER is another superb western from a director not normally associated with the genre. Falling squarely between the 1940s and 1950s, I was at first uncertain at to which camp this film fell into. It has all the incidents you'd expect in a 1940s oater, but overlaid with the kind of psychology and sensibilities you'd expect in a 1950s western. In the end, I decided this is a film about contrasts.

The first contrast you notice is the visual one. The movie is shot in black and white and it seems that those were the only two tones available to director Henry King. The exteriors are bright, bleached out and hard on the eyes. The interiors are dark, cool and gloomy. There doesn't seem to be much shades of grey going on (of course, I could have been watching a bad print, but work with me, here ...)

This visual contrast is echoed by the contrasts between the characters. The first of these we see is the contrast between Peck's Jimmy Ringo and the dumb kid who challenges him in the first bar. Ringo tries to talk him round, the kid won't have it and goes for his gun. But Ringo - of course - is faster. Darwinism at work ...

The next telling contrast is between Ringo and his old compadre, Town Marshall Mark Street. While Ringo still drifts from town to town, occasionally having to show some punk who's fastest, Mark has gone respectable and settled down. Mark is a respected citizen while Ringo's presence causes mothers to call their children indoors.

Then there's the contrast between Peggy, Ringo's estranged wife, and the gossipping, prejudiced biddies of the town. Is it any coincidence that Peggy is a teacher, representing education and, by implication, civilisation?

THE GUNFIGHTER is very tightly plotted at just 85 minutes. It seems longer because of the wealth of incident it packed into its slender running time. Film makers of today could learn a lot about how to pace a story from films like this.

If it shows up on TCM or somesuch satellite/cable channel, do yourself a favour and make the effort to catch it. It's well worth your while.

Meet the western, deglamorized: gunslinging makes you feel guilty, your ex is a prudish school teacher too hung up on your trail of corpses to see you, the town where you've decamped is filled with half-witted bums, puritans, celebrity-gazers and a most unlikely marshal, and somewhere on your trail are three brothers of the dead smart ass who drew on you in the last town. Jesus, do you need a whiskey.

No ordinary genre film, "The Gunfighter" (1950) is both a hugely satisfying entertainment and a conventional studio film with surprising depths. The surprise comes from the nature of the western in the mid-century where, with few exceptions, the black-and-white morality plays are as plain as the gunfire. Not so here, where we get the treat of seeing Gregory Peck play an antihero who has stepped far outside of conventional morality and now wants readmission, even though the bloodstains won't wash out. Welcome to Ambiguiety Gulch.

It's tempting to say that "Gunfighter" looks forward to the spaghetti western, especially in its themes of alienation and social revulsion. Frankly, though, it feels less like a western and more like a film noir. The feeling of claustrophobia is always near, whether in Peck's fear of another violent summons or in subplots involving the closeted desires of various townspeople to kill him (one gritty sequence in a boarding room is more unsettling than anything in Hawks or Ford). Surfaces are untrustworthy, motivations questionable, psychological derangement hovers in the wings, the "law" is both more and less than it appears, and as characters make startling pacts with their bloody pasts you can almost sense the triumphalism of the post-war years turning to anxiety and dread.

No need to recap what's essentially a well done, but one-note plot. It looks like the seeds of a hundred TV westerns get their start here as Peck's weary gunfighter shows the many ravages of being Top Gun. Then too, the clock watching plus the vengeful riders coming to town looks a lot like the later High Noon (1952). I suspect this was one of the more influential oaters of the period.

It's also shrewdly cast. Peck's rather stiff acting style works well for the besieged Ringo, a man now living mainly within himself since nobody can be trusted. But I especially like Mitchell's sheriff. He projects real authority tinged by an appropriate hint of understanding. Plus, he looks like a genuine frontier hard guy. Too bad this unusual actor died so soon. And was there ever a better dislikable young punk than Skip Homeier, who made a brief career out of such unlovelies. On the other hand, Westcott appears a shade too young (22) to be Ringo's wife and mother of an eight-year old, but at least she's not glamorous in the usual Hollywood style.

The climax is appropriately non-heroic, just a couple shots in an alleyway. Not exactly the usual Hollywood showdown. I suspect that's one reason for the rather mythic final sequence, for Peck has managed to inject a touch of nobility into the character of the ravaged gunfighter. All in all, it's a somber and elegiac eighty-minutes that eventually cast quite a forward shadow.

Is there any place, any retreat, any home of retirement, that an inevitably tiring gunman can move on to?

This predicament is best conveyed, explored and given its full tragic weight in Henry King's 'The Gunfighter.'

Ringo (Gregory Peck), wearing his reputation as the fastest gun in the south-west territories like a heavy load, enters each bar warily when he needs a quiet drink, knowing full well the reaction—fear, respect, perhaps admiration, and certainly the intervention in some form or other of a young upstart with itchy gun-fingers.

Although Ringo, guilty for previous sins, tries to refrain and to avoid the shoot-out... But he is always compelled to eliminate the worthless maladjusted gunmen, wishful for a big name...

The pattern is set early on when Peck has to shoot a boy (Richard Jaecke1) in self-defense. And so a feud begins—you feel it's only one of many—with the three brothers of the boy (Alan Hale Jr., David Clarke and John Pickard) hell-bent for revenge…

Peck deals with this situation, at least for the moment, sighs and then moves on to a place that passes for home... Here is his wife (Helen Westcott) and his son, who won't, however, be providing him with a welcome since in the eight years that husband and family have been apart the wife has been trying to build a life of their own… Here also is a sheriff (Millard Mitchell) formerly engaged in Peck's outlaw activities, but now reformed, and an old girl friend (Jean Parker) ready to he1p him in anything that concerns him most… His actual concern is reconciliation with his wife and a new life together… There is a tentative rapprochement but, of course, there is another of those young contender interventions, this time in the person of Skip Homeier…

Henry King draws up carefully the ultimate end of the 'top gun of the West.' His film is an inclination towards a classical tragedy, destined to be destroyed inevitably... Peck strikes the right note from his first edgy entry... He wants to shake off his past... He is disgusted to kill in order to survive... He is aimless for a change, sick with death and glory, showing tiredness of killing, conscious to a tragic fate one day...

Peck is superb in his brief and nervy reunion with his small son, impressed like the rest of the local kids by the fact that Jimmy Ringo, the gunfighter, is in town...

"The Gunfighter", keen and penetrating, explosive and tense, is beautifully acted, tautly directed and superbly photographed by Arthur Miller in black-and-white...