L'uomo dai 7 capestri

Unlike other comedic Western films of this era, John Huston's THE LIFE AND TIMES OF JUDGE ROY BEAN is based on a singular premise: that God Almighty has decided to judge men on this earth through Roy Bean, a petty outlaw and drifter. Early in the film Anthony Perkins (as the circuit riding Methodist minister the Reverdend LaSalle)recites the salient portion of Psalm 58 at an impromptu funeral he is presiding over for the deceased frontier scum that tried to kill and rob the solitary Roy Bean, (to their catastrophic destruction by Bean himself) Thia will remain the recurring theme and leitmotiv that will dominate and justify the startling and unlikely quest of Judge Roy Bean, petty criminal turned self appointed judge of Vinagaroon county Texas.

Despite the extreme rusticity of Bean's surrounding and beginnings, his quixotic position of dispenser of justice steadily grows and grows until Bean has become the most respected and influential man in that extreme outpost of civization.His position takes on a unmistakable sort of grandeur, as does his chivalrous obsession with Lily Langtry, which in the end has flowered into perhaps the last shout of true chivalry in the ancient European sense. When the corrupting forces of the encroaching outside world seem to have completely swallowed up Bean's life's work, the judge, who has been 'down the pike/' for twenty years, unexpectedly returns for a true DIES IRAE, a reckoning. The final scenes with Ava Gardner as Lily Langtry, visiting the tiny remaining outpost and museum which bear her name delivers a ending moment of surprisingly fine sentiment. I LOVED this picture, with the exception of the idiotic song that was inserted into the middle of this soaring myth (probably insisted upon by investors who thought an original song, no matter how dismal would increase the projected box office to the level of BUTCH CASSIDY AND THE SUNDANCE KID.

The real-life Judge Roy Bean, the law west of the Pecos, was a legendary figure who pulled off numerous publicity stunts for "his" town of Langtry, meanwhile administering a little justice along the way. If you'ver ever watched Northern Exposure, a good comparison might be Barry Corbin's Maurice Minnifield. That being said, the real Judge Bean pales in comparison to the legend that has built up over the years. That legend is what Huston concerns himself with, and it serves him well. The film is very episodic in nature, and for the first half, it does not disappoint. Paul Newman's first scene, where he's beaten, left for dead, and returns to wreck vengeance on every last one of his attackers sets the tone for the rest of the film. This is high mythology, tall tales at their best; you get the impression that this is how we Texans really wish our history read--colorful, eclectic, ruthless at times, and occasionally downright bizarre. From beer drinking bears to albino bandits, it's certainly interesting.

That being said, the film definitely takes a melancholy tone as civilization comes to Langtry. With it comes the disdain for such colorful characters as Bean, who seemingly has no place in the new, modern world. It's sad, but makes for an especially poignant ending. Newman's Judge is a blustering wonder; other standouts include Anthony Perkins, Ned Beatty, Roddy McDowell, and a very young and fetching Victoria Principal. Also making cameos are Jacqueline Bissett, Stacy Keach, Ava Gardner, and even the director himself.

All in all, a funny, touching film.

This was Paul Newman’s third of four films about legendary figures of the American West – the others being William “Billy The Kid” Bonney in THE LEFT HANDED GUN (1958), Butch Cassidy in BUTCH CASSIDY AND THE SUNDANCE KID (1969) and William “Buffalo Bill” Cody in BUFFALO BILL AND THE INDIANS, OR SITTING BULL’S HISTORY LESSON (1976) – and his first of two in a row with director Huston – the other being the espionage thriller THE MACKINTOSH MAN (1973; which, incidentally, was partly filmed in Malta).

The last three Westerns all came at the tail-end of the genre and, apart from being in a decidedly comedic vein, can also be dubbed “Revisionist”. Newman essays the titular figure as a character part, with his handsome features hidden behind a scruffy beard (his hair has all gone white by the end) and little display of his trademark ruggedness and mischievous charm. Ironically, despite the phenomenal box-office success of movies like THE STING (1973) and THE TOWERING INFERNO (1974), the Seventies weren’t particularly distinguished for Newman as an actor and his performance here is arguably his best work of the decade!

The film is generally elegiac in mood (especially during its last act when the Old West is all but vanquished in the name of progress) and episodic in nature, with a plethora of stars turning up for just one sequence or scene: Anthony Perkins as a preacher, Tab Hunter as a convicted murderer, Stacy Keach as an albino badman who terrorizes the town, John Huston himself as the owner of a sideshow attraction (an amiable beer-guzzling bear which eventually comes in handy to the Judge), Roddy MacDowall – who has the largest role of all is an ambitious lawyer (he’s subsequently appointed mayor and eventually becomes an oil tycoon), Anthony Zerbe as a mugger, and Michael Sarrazin – whose “participation” extends merely to sharing a photo with Jacqueline Bisset (as the Judge’s daughter)! The latter, then, provides undeniable eye-candy along with Victoria Principal (radiant in her film debut) as Bean’s Mexican lover and Bisset’s own mother – while Ava Gardner’s Lilly Langtry only shows up at the very end after Bean himself, who worshiped the celebrated actress, has died; Ned Beatty is also quietly impressive as the most loyal of Bean’s gang (who actually prefers tending bar to performing his duties of deputy!).

The best/funniest bits are: Bean assuming control of the town after a near-lynching, Principal shooting repeatedly at a whore (a potential rival for Bean’s affections) and being thrown to the ground with the force of each blast, Bean’s entire gang shooting in unison at a drunkard who dared take a potshot at Lilly Langtry’s portrait, Keach’s cartoonish demise, and Bean and Gang’s epic Last Stand. As had been the case with BUTCH CASSIDY’s Oscar-winning “Raindrops Keep Fallin’ On My Head”, the film features a recurring song motif in “Marmalade, Molasses And Honey” (music by Maurice Jarre, lyrics by Alan and Marilyn Bergman) – which also ended up nominated, but is nowhere near as memorable as that Burt Bacharach/Hal David classic (though Jarre’s score, in itself, is quite good). For that matter, neither is Huston’s film up to the George Roy Hill masterpiece – though it’s certainly better than the talky Robert Altman-directed Buffalo Bill pic.

By the way, William Wyler’s THE WESTERNER (1940) had been another film which centered around Judge Roy Bean: played as a semi-villain by Walter Brennan, that characterization had led to his third Oscar. I own it on VHS but, since this month’s schedule is absolutely crammed with movies I need to watch in tribute to someone or other (including JUDGE ROY BEAN itself to commemorate the 20th anniversary of Huston’s passing!), I couldn’t possibly fit it in...

This underrated/underseen Huston film is definitely worth a look. Newman is wonderful as Roy Bean, and the large supporting cast is amazing, especially Anthony Perkins as a travelling padre, Stacy Keach as Bad Bob, Roddy McDowell as a wormy lawyer, Ned Beatty as the outlaw who'd rather be a bartender, and John Huston himself as Grizzly Adams. This is not a perfect picture at all. It falls apart by the last third or so, has a terrible day-for-night process shot that doesn't really work, and a unnecessary and embarrassing "raindrops keep falling on my head"-type musical montage, but the rest of it is great fun. This is the crazy kind of script Milius used to write in the 70s, like Apocalypse Now and especially 1941. The tone is very odd, but if you like your comedy dark and your westerns satirical you'll find lots to like about this one. A very broad and dark performance by Newman, who manages to find the pathos and integrity of this western charicature. It's a nice companion/contrast to Butch Cassidy and the Sundance Kid. Kind of what Rami must have been going for in The Quick and the Dead (minus the Spaghetti Western style), and the examination of the mythic hero that Roderiguez tried for in Desperado, but much better achieved by Huston (duh). Fun stuff.

This whimsical western is a mixed bag, though I was slightly distracted throughout waiting for the appearance of a young Victoria Principal. Only knowing her "work" from FANTASY ISLAND, DALLAS and EARTHQUAKE, I expected her to be hopelessly flat in the company of higher echelon performers like Paul Newman. Well, was I ever shocked and humbled to note in the closing credits that our Miss P. had slipped right past my poised-to-be-nasty laser vision by slipping seamlessly into the role of Judge Roy Bean's young Mexican mistress. Principal is mellow, charming and realistic in the part, coming across like a more talented Claudia Cardinale. After making a debut like this in a John Huston film....WHAT THE HELL HAPPENED???