Conquistadores

No one ever really believed that Randolf Scott was a gun toter; he seemed too gentle for that. But the veneer of respectability he gave to his roles helped reinforce the western morality of good superceding evil. Nowhere is this poetry more evident as in Western Union [1941], directed by one of film noir's most gifted geniuses Fritz Lang, here working equally adeptly in colour. The shot of unfinished telegraph lines snaking away into twilight oblivion leaves lasting impressions.

This western prophecies the long professional relationship between producer Nat Holt and Randolf Scott which ran from 1946 and turned out cliché-westerns which weren't cliches at the time, and which, with practice improved till there was a kind of visual poetry about them. This isn't the history of Western Union, the way the western isn't the history of the old west. But it seems to relate a kind of truth, and that's what matters.

Hard to believe this was directed by Fritz Lang since he mostly directed crime dramas and mysteries. This movie has a cast that includes Robert Young, Randolph Scott, Dean Jagger and John Carradine. Scott plays an outlaw who tries to go straight and leave his old gang and winds up saving Jagger's life. Jagger works for Western Union, a telegraph company that plans to have telegraphs out west. Jagger hires a lot of men to make sure it is done because they have to worry about Indian attacks and bandits. Scott is in charge of the men and Young is a telegraph expert who can't shoot a gun but can ride. Scott meets up with his old gang who want to stop them but Scott can't tell anyone. It's a pretty good western and Lang should of directed some more westerns.

I wanted to see this film because my grandfather acted in it. His name is James Spencer. I was in store for other treats in this film. It was awe inspiring to see the scenic vistas that shooting on location brought to this film. I was reminded of John Ford's western films. The acting and characters were very watchable and fun. The film was peppered with the fantastic and not seen lately character acting talents of many contract players of the 30's. A great treat for the eyes and mind.

This movie is so cute! Marketed as a western that chronicles the advent of the Western Union telegraph office and telephone lines, it doesn't exactly scream cute, but it is. Randolph Scott provides enough eye candy to turn any movie cute, but it's not just he who turns the film into an educational western into a feisty, flirty comedy-it's Robert Young, too.

Prior to this movie, I'd been known to not particularly like Robert Young, but this was one of the first to make me really change my mind about him. He's so adorable in this movie! Virginia Gilmore is the love interest, and while a young Dean Jagger is crossed off the list due to his brotherly relationship, she has to choose between Scottie and Robert. When Scottie comes in the picture, he's impossible to resist. He's handsome, he knows how to ride a horse-thanks to his WWI service days-and he's got a shady past. In short, he's a cow-bad-boy with an authentic Southern accent.

Then, Robert shows up. He's a total dandy, but absolutely adorable. He's smart, charming, and puts the fun in sarcasm. In his first scene, he meets Virginia and she taps out a message in Morse code in the telegraph office to her coworkers making fun of the well-dressed gentleman. Robert merely smirks and, completely devoid of smugness, corrects her spelling. "I don't know what you're talking about," she sniffs indignantly. "Yeah, but I know what you're talking about," he smiles. He's irresistible, too!

In my favorite scene, Robert pays a call on Virginia late in the evening. Scott has beaten him to the office, so he's not allowed any romantic time with her. She ends up sending them both away, and laughing, they realize-alongside the audience-that they can't help but like each other even though they're rivals. It's really impossible to choose between them.

A good part of this movie was shot on location in southern Utah. When Fritz Lang arrived and saw the local Indians who were hired for the movie they were short stocky built people like many of the tribes in the southwestern area of the United States. This did not meet Langs idyllic picture of the tall thin and muscular Indian he had cultivated while he was still in Europe where he was already fascinated with the American west and its's western films. He promptly fired all of the local tribes people and had extras sent from central casting in Hollywood, most of whom were Anglo, to meet his view of Native Americans.