O Vale da Ambição

As often throughout his long-running career, urbane Wales born Ray Milland takes on a role that seems on the surface atypical for his native skills, in this instance as Johnny Carter, a vaudeville trick shot artist who was formerly Colonel Desmond, a Confederate Army hero, now coming to the postwar West in search of financial profit and romantic adventure. Although the war is past, Desmond's ability as a military leader is sought by a group of ex-Confederate soldiers, now employed at copper mining, and needful of tactical shelter from a corrupt combine composed of former Union soldiers and mercenary lawmen that does not stop short of murder in preventing the Southerners from transporting their ore to be smelted. Desmond is reluctant to become involved in this affray and we learn that he is sought for the theft of $20000 which he took from the commandant's office in a Union prison camp upon his escape from that establishment, and is therefore determined to hide his true identity within his posture as Carter the entertainer. Through married complexities in the scenario, Desmond is convinced that he should assist his former compatriots and this gives Milland an opportunity to become engaged in a series of highly kinetic adventures involving riding, shooting and, in general, making of himself a nuisance to the villains of this cinematic western romp. On the distaff side, an extraordinarily beautiful Hedy Lamarr is impressive in an ambiguous role as an adventuress from New Orleans who may or may not be allied with the forces of evil, and there are fine portrayals by Mona Freeman, Peggy Knudsen, and giantess Hope Emerson as a dance proprietress. The cast is strengthened by Macdonald Carey as the primary villain of the piece, and he dominates virtually every scene that he is in, and there are solid performances from James Burke, impish Percy Kelton, and Harry Carey, Jr. as a Union officer in love with Caroline Desmond (Freeman), daughter of the patriarch of the miners. Filmed in Technicolor, COPPER CANYON is easy upon the eyes, and the post of director is capably filled by John Farrow, who deals nicely with an overabundance of subplots, yet who concentrates upon those elements which will move the action along smartly, yet allow for development of character. Unfortunately, the production is heavily cut and there are some instances of ragged editing, with a result that the climax and weaving of loose ends is stunningly rushed, and what might have been a standout motion picture must remain at present a pleasant bagatelle of its genre.

Hedy Lamarr decided to go west following in the footsteps of Marlene Dietrich who saw Destry Rides Again rejuvenate her career. I'm sure that was why she decided to do Copper Canyon where she was saloon girl villainess who falls big time for fancy sharp shooter Ray Milland who brings his trick shot act into her town and saloon.

Milland arouses the jealousy of crooked sheriff Macdonald Carey. But Milland has a past of his own. He's a former Confederate colonel who robbed a Yankee payroll in escaping before the war ended. He's a hunted man for that reason though the local hunter, army lieutenant Harry Carey, Jr. really hasn't got his heart in the job.

Milland's been sent for because the local copper mine smelter with the connivance of Carey has been exploiting the Confederate veterans. His prowess with weapons comes in mighty handy before the film is over.

It's a good, not great western, but the reason it became popular because of the title tune which is heard, but not sung in the soundtrack. Young Teresa Brewer had a hit record of it back in the day.

Copper Canyon didn't really give Hedy Lamarr the Dietrich like assist in her career. Still she does fine and it's a good Saturday afternoon film for enjoyment.

I have not seen this movie recently; but I remember it as an unusually attractive looking film. Color by Technicolor, and colorful costumes by Edith Head, for Hedy Lamarr, helped make this otherwise run of the mill story, eye candy for viewers. Hedy Lamarr looked wonderful as usual; of course this role could not possibly rival that of Delilah. Ray Milland was more fun than usual. I thought character development was superior to most westerns of the time; except perhaps for Hedy's role, which seemed a little ambiguous. Good western. Hedy Lamarr's physical presence was an added bonus.

First off, I love Ray Milland. He's so cool and collected. The man can wear golden hoop earrings and fend off Marlene Dietrich without looking the slightest bit unnerved (see "Golden Earrings"). He's calm in this also, and he doesn't even attempt to let you in on the whole "Is he the guy or isn't he?" conflict that runs through this film. (I also enjoy the COMPLETELY different "Is she or isn't she?" of "Johnny Guitar," but that's another story.) I rarely discuss the plot (I'm usually distracted) but Ray Milland is approached to help some former Rebels who are being cheated by former Yankees. Sort of a "You killed my son so I won't buy your product" thing. That gives Ray a chance to deliver a disgustingly sappy speech direct from Abraham Lincoln. Discrimination of any kind is a touchy subject, and it is difficult to get it into a film without offending someone, so A for effort on that point.

Hedy "The Most Beautiful Girl in the World" Lamarr is the good-bad girl. Or is it the bad-good girl? She's the seemingly bad girl who proves to be good in the end. There we go. She's gorgeous in color, and that's definitely the highlight of her performance. There has never been any reason to have women in westerns--I've always hated that. They just stand around looking delicate and lovely (how they managed to do that in the old West where the ratio of men to women was staggering I'll never know). They're something to fight over, but that's it. Hedy tries to worm her way into the plot, but when the action starts she's out of the running. "Johnny Guitar" isn't like that, but those aren't regular "women" in the usual sense of the word. I for one desperately wanted to see Hedy pick up her shotgun and blow her corrupt not-boyfriend right out of the saddle. But no. She had to stand on the porch and watch the action from afar. She did blow him out of the saddle a few times, but that was different, and of course sex-related.

I think I would have appreciated this film more had Ray Milland been a simpering entertainer and Barbara Stanwyck a rough-and-ready female rancher with bone to pick with everyone. Not that Hedy Lamarr's bad, but this isn't her thing. (I also love the obligatory explanation of her accent. In this, she's from New Orleans, where everyone has an accent of some kind. In "Come Live With Me," she's naturally from Austria. They can't just let us wonder why a foreign-accented beauty turns up in Nevada and starts playing poker with the sheriff.)

All in all, it's entertaining, but don't roll out the red carpet yet.

The story is set on post-Civil War day where some copper miners , Confederate veterans , are blackmailed by Southern towners commanded by deputy Lane Travis (Donald McCarey) and his hoodlums . The copper-miners ask marksman nonpareil named Johnny Carter ( Ray Milland ) to help them , under the consideration that he is the former Southern Colonel Desmond . When the Johnny's spectacle comes to Coppertown he falls in love with the femme fatal Lisa Roselle ( Hedy Lamarr ) , whom the miners believe is at the origin of their problems . Later on , Johnny Carter assists fellow Sourtherners who are been continuously harassed by towner rebel-haters . Southern people attempt to transport a copper shipment from Coppertown until Mesa City when are attacked and beleaguered by local deputies .

This is an acceptable Western full of action , thrills , shootouts , romance and wonderful scenarios . Ray Milland faces with decision his role as Confederate veteran disguised as stage sharpshooter and of course a gorgeous Hedy Lamarr as lovely and astute gambler . Ample and agreeable support cast as Harry Carey Jr , Mona Freeman , Frank Faylen and eternal secondary Ian Wolfe . Special mention to Hope Emerson as robust Saloon-keeper. Colorist cinematography in glimmer Technicolor by Charles Lang and atmospheric score by Daniel Amfiteatrofh who includes splendid musical background on the main titles . The picture is fine and professionally directed by John Farrow . He was a veteran writer , producer and director who made several films as hits as flops . He directed various Western as ¨Hondo¨ , ¨Ride vaquero¨ , ¨California¨ and ¨Copper canyon¨ , among others . Rating : Passable Western that will appeal to Ray Milland and Hedy Lamarr fans .