O Proscrito

There are films that are great, films that are not so great, films that are bad...and then there are films that are so bad, so grandly misconceived, one can only gape in wonder or roar with laughter (or both) at their foolishness. Thus an awful film can sometimes provide more entertainment than many good films. (THE DEVIL BAT, starring Bela Lugosi, comes to mind.) Watched THE OUTLAW on DVD the other night with some friends, and we were falling off the couch. I'd always heard there was a homoerotic subtext to the picture, but this was no subtext -- gay porn must be more subtle than this film! Walter Huston's Doc Holliday (or Halliday -- I've seen it spelled both ways in regard to this picture) is CLEARLY the stud, Billy is a petulant young hustler who piques his interest (despite his having stolen the older man's cherished horse!), and Thomas Mitchell's Pat Garrett (Doc's "oldest

friend") seethes with jealousy throughout until he degenerates into the very apotheosis of a passed over, frantic, shrieking old queen. "You're not going with him! Everything was fine between us till he came along!" It has to be seen to be believed. Hilarious! The film's musical score is the worst -- THE WORST -- I've ever heard. There's less Mickey-Mousing in a Three Stooges short. So I recommend this one highly for parties. I guarantee a laugh riot. The thought of the great cinemotagrapher Gregg Toland (CITIZEN KANE) laboring on such camp trash is depressing, but he did give the film a fine look.

This famous western deals with the most noted gunslinger of the southwest , William Bonney , a juvenile tough, a teenager wanted dead or alive throughout the west . This is a fiction story of the strange teen-age desperado known to legend as Billy the Kid . Billy was said to be sympathetic , attractive and favourite with girls , these characteristics well represented by the protagonist (Jack Buetel) . He'll confront Sheriff Pat Garret (Thomas Mitchell) and Doc Holliday (Walter Huston) and falls in love for a wonderful girl (Jane Russell) . The film isn't based on real events , it's a fiction story by the prestigious screenwriter Jules Furthman with ironic dialogs and a plot with little sense. Thus , here don't appear Tunstall , Chisum , nor others roles , neither deeds (Lincoln county war or getaway from gaol) of the Billy Kid's life that have been treated in other pictures . Exception for historical character Pat Garret who has an important role , while actually Doc Holliday nothing to do with Billy . The picture is produced by RKO (Radio Pictures Inc) and Howard Hughes who at the time was Jane Russell's lover . Howard Hawks began the filming in 1941 and he shot scenes with the cameraman Lucien Ballard but had complications with Hughes and he took the direction hiring the excellent photographer Gregg Toland (Citizen Kane) . However , the censorship made him to modify numerous shots takes . At last, after three years delay , public saw a daring production exactly as it was filmed , with no a scene cut . It would become a mythical film as an erotic Western . That's why Jane Russell , as she appears moody , mean, magnificent and terrific , too startling to describe , Russell was an authentic sensation by the time , she keeps her better attributes on the bosom. Today all the fuss seem totally wrongly . The film has real sensations , thrills , pursuits , go riding , primitive love , action , but it results to be a bit boring .

Highly anticipated. Hyped to the hilt. Howard Hawks directs with the aid of Howard Hughes. This western depicts the relationships between Billy the Kid(Jack Buetel),Doc Holliday(Walter Huston) and Sheriff Pat Garrett(Thomas Mitchell). Cowboys, Indians and gun play are not the main feature...the debut of Jane Russell is! This movie was filmed in 1941, but it took two years to pass the censors due to the shameless display of Russell's ample assets(36D). Aircraft pioneer Hughes actually designed the bra that helps showcase Russell. This is also Buetel's debut; but Huston is the one to prove his screen greatness. Probably the first sex western. Of course the fade outs leave a lot to the imagination. Worth the ballyhoo.

Outlaw, The (1943)

** (out of 4)

Notorious Western had to battle the Hayes Office for two years before eventually getting released where it ended up battling more censorship issues but a certain pair at least got people into the theater. Doc Holliday (Walter Huston) has a falling out with Pat Garrett (Thomas Mitchell) after he sides with Billy the Kid (Jack Buetel). Billy and Doc become friends and head off but they are soon battling over a woman (Jane Russell) as well as constantly having Garrett trying to track them down. The aspects of this that were shocking in 1943 are pretty much tame and dated by today's standards but what I found so shocking about THE OUTLAW is how poorly made it was and how many awful things here in it. I don't mind the changes in history that the film made but for the life of me I couldn't understand what Hughes was trying to do with this thing other than to show off Russell's big breasts. I found the screenplay to be a complete mess as it never seems to know what it wants to do or what type of story it wants to tell. Is it meant to be a real Western? If so why are there so many silly moments? Was it meant to be a silly comedy? Well, that's fine but if so why on Earth were there so many darker moments? The movie contains one of the worst scores in Hollywood history as the thing is embarrassingly bad. The thing is over dramatic when there's nothing going on in the scene and sometimes the score is so loud and over-the-top that you can't even hear the dialogue. The film has also become legendary due to the homosexual aspect of the story. Again, I'm not certainly a love triangle between Billy, Garrett and Holliday is what Hughes was going for but that's how it comes off. I'm going to guess this is just part of the film being poorly made because at times the three men seem to be flirting more with one another and just letting Russell be on her own. The film has some really weird and out of touch comedic moments including various sound effects that happen during times when something serious or dramatic is going on. As far as the performances go, Huston comes off the best as he at least seems to be trying to give a performance. Buetel has no personality and comes off very stiff and appears to be bored. Mitchell was a fine character actor but he's miscast here and is never believable in the part. As far as Russell goes, she certainly looks beautiful and I enjoy the fact that Hughes wanted to show off her certain parts but he didn't give her much of a chance to act as she's simply used as eye candy. Hughes direction is all over the place and in the end he delivers a pretty big turkey. I understand this movie having a cult following due to its reputation and troubled history but for the life of me I can't understand some of the positive reviews I've read.

I have seen this 'film', "The Outlaw", on a number of occasions. Frankly, I don't understand what all of the hubbub is about. The film is absolutely dreadful. Great talent (Walter Huston and Thomas Mitchell) is wasted in this film with an 'identity crisis'. It doesn't know if it wants to be a western, or a romance, or a comedy. Maybe it did introduce Jane Russell to the screen, but that appears to be the only justification for making this celluloid nightmare. Her acting talents are virtually non-existent, though she looks good. Jack Beutel is forgettable as 'Billy the Kid', and he gives an un-inspired performance that is something far beyond lackluster. One gets the feeling he is reading his lines 'cold' from cue cards. The film moves very slowly, is not particularly well written ( despite its hightly acclaimed screenwriter credits), is dreadfully acted, and is a very difficult watch, almost the equivalent of Chinese Water Torture. Fortunately, the film never takes itself seriously. And it's a good thing. It isn't the kind of film to be taken seriously !! I would recommend that it be shown in maximum security prisons as a substitute for lethal injection ! The film stunk then, it still stinks, and if it's part of film history, it isn't one of the high points, and the student of film needn't spend too much time here. The creative Victor Young music score and the innovative cinematography of Gregg Toland make the film watchable, but aren't enough to salvage this dreadnaught. Hughes shouldn'a had'da ought'a done it !! He should have hired a REAL director to crack the whip, and he should have taken the gag and handcuffs off of the writer and restored him to his artistic creativity. This didn't happen. Instead, some of the best talent of the period--both in front of and behind the camera--is wasted, and what masquerades to some as film history is seen by this writer as 'Film Misery'!!