O Vingador

In the tradition of Hollywood this version of the saga of Billy The Kid is as false as many others were including some more modern versions purported to be the real story. In fact this has one truly radical change I won't reveal.

Johnny Mack Brown who would shortly find his career niche in B westerns is William Bonney. Pat Garrett is played by Wallace Beery who plays it a bit more straight forward without the usual mugging for the camera.

Some of the other characters from the Lincoln County War are here as well. Kay Johnson supplies the love interest who tries to keep Bill Bonney on the straight and narrow.

This Billy The Kid is a decent western and does credit to both of its leads.

By the time King Vidor directed this "Billy the Kid," he already had 36 movies under his belt (most of them silent), so it's weird that the movie seems so arbitrarily thrown together. Brutality and tenderness each try to crowd the other out. Somebody dies, and minutes later everyone's smiling again. I think the Western/Cowboy genre was still developing in Hollywood at the time (even after all those silent Westerns), and the addition of sound just threw another monkey wrench into the works. Nevertheless, you can tick off all the Western conventions and clichés as the film unfolds; they're all there. But it's like they're on steroids or something -- you never know when they're going to take on a life of their own. They just don't add up. I'm tempted to give this movie an "8" rating just for its consummate strangeness, but I think a "6" is probably a fairer assessment.

This film was full of surprises for me, given its less-than-stellar reputation. One has to view it in terms of Hollywood myth-making and not as if it's an episode of `Biography.' King Vidor's camerawork is startlingly fluid - he uses camera movement and cutting very effectively. One of the biggest surprises was the brutality (not to be confused with gore) of certain scenes. The film also does an excellent job of creating a mood of futility. As for Johnny Mack Brown, at first I thought he was inappropriately cast. But as the movie continued, his characterization seemed more valid. And of course, the location shots are stunning. This film is underrated and overdue for critical re-evaluation. Perhaps that will happen if an archivist finds a widescreen print!

So OK this film has little to do with the real story of Billy the Kid, but director King Vidor gets the Lincoln County war (over land and cattle) pretty right. The location shooting for this talkie looks like New Mexico but not like the town of Lincoln. But Vidor captures the lawlessness and viciousness that drove the real-life events.

Johnny Mack Brown (a big star at MGM) was still finding his way in talkies when he was cast here (against Vidor's wishes) as Billy. Brown was 26 years old, the veteran and more than a dozen silent films (working with MGM's top stars like Greta Garbo, Marion Davies, and Joan Crawford), and coming off one big hit talkie (COQUETTE with Mary Picford) and one flop (MONTANA MOON with Crawford). His Alabama accent would soon consign him pretty much to hundreds of westerns in film and on TV til the mid-60s.

But here, Brown is a lanky, friendly, and brutally honest Billy who only kills when it's the right thing to do. His horror at the brutal murders of the unarmed McSween and Tunston drives his sense of right and honor. He's also sorta sweet on the would-be bride of Tunston (Kay Johnson).

Pat Garrett (Wallace Beery) likes Billy but becomes sheriff. He knows his duty but he also knows the Billy the Kid legend is baloney. There's a terrific, long sequence when Garrett and his bunch burn out Billy and his men and pick them off one by one as they run from the burning house. It's a chilling scene but one can't doubt the honesty of it.

Supporting players are an interesting mix here with Karl Dane as a cowboy who grunts a few unintelligible words, Roscoe Ates without his stutter, Russell Simpson, Frank Reicher, Chris-Pin Martin, and Blanche Frederici as the Widow McSween.

But Brown and Beery take center stage and they are a terrific team. Beery is more subdued here than in many of his later talkies, and his rapport with Brown seems real. Brown is so likable as Billy it almost doesn't matter that as biography this is the bunk. Brown's dancing sequence is a highlight.

There were few westerns ever made in the 1930s that had better casting than this film. Johnny Mack Brown is perfect as Billy the Kid, and Wallace Beery is just as perfect as his personable best friend, Pat Garrett. Of course, this movie has very little to do with reality or the actual fact about Billy the Kid and Pat Garrett, but audiences in the 1930s Depression era were not really concerned too much about reality; if anything, they wanted to leave reality behind for a few hours. This film fits that bill. The tale of the pursuit and capture of Billy the Kid has been done more than half a dozen times in Hollywood, but not with more empathy and humor than this version. Watch it and see for yourself.