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ROBERT TAYLOR, grim-faced and painted to look like an Indian, gives a strong performance in Anthony Mann's examination of the plight of American Indians and their mistreatment in DEVIL'S DOORWAY.

Although he's a winner of the Congressional Medal of Honor after his victorious conduct in war, he doesn't get the welcome he expects when he returns to his home state of Wyoming where EDGAR BUCHANAN is the Sheriff who warns him that he's naive if he thinks he can find a welcome mat for Indians at any bar.

PAULA RAYMOND is the pretty lawyer who tries to help Taylor when her mother (SPRING BYINGTON) reminds her that that's what her dad would do. But nobody can stop evil lawyer LOUIS CALHERN from spreading false and malicious gossip that poisons the mind of the homesteaders who want a piece of Taylor's land.

It's a grim story, beautifully photographed with stunning B&W western landscapes filling the eye with their grandeur. All of the performances are expert and the climactic battle with men foolishly following Calhern's orders is photographed for stunning impact.

Told in a tense 85 minutes, it's a film worth viewing and one that was ahead of its time in dealing with the plight of American Indians in a realistic way.

In Wyoming, Native American Indian and Civil War hero Robert Taylor (as Broken Lance Poole) faces discrimination. When his father appears ready for the "happy hunting ground," Mr. Taylor can't get a doctor because he's an "Injun". White lawyer Louis Calhern (as Verne Coolan) wants to take away the land Taylor inherits. Taylor hires female attorney Paula Raymond (as Orrie Masters) to help and they are mutually attracted. Taylor learns that, as an Indian, he is not a United States citizen and has no right to his own land. Sheepherding homesteader Marshall Thompson (as Rod MacDougall) moves in, and the conflict gets violent...

"Devil's Doorway" opens with some serious reservations about Taylor's portrayal of a Native American. It doesn't help that his make-up shades up inconsistently in different scenes. But, after about thirty minutes, when he's in full "red-skin" dress, Taylor creates an appealing and believable character. Taylor's stoic mid-life screen persona matches the role perfectly, and he responds with one of his best performances. Also lifting this film from the doldrums is director Anthony Mann, who gets photographer John Alton under your skin with some beautifully framed and staged scenes. The "pro-Indian" theme was not new, but had become rare.

******* Devil's Doorway (9/15/50) Anthony Mann ~ Robert Taylor, Paula Raymond, Louis Calhern, Marshall Thompson

Devil's Doorway is directed by Anthony Mann. It stars Robert Taylor as Lance Poole, a Shoshone Indian who returns home to Medicine-Bow from the American Civil War after a three year stint, and a veteran of three major conflicts. Awarded the Congressional Medal of Honor he rightfully expects to be able to retire to a peaceful life back on the family land. However, all his hopes and dreams are shattered by bigotry and greed as new laws are ushered in to deprive the Native Indians land rights.

Biting and cutting, Devil's Doorway is a Civil Rights Western that, boldly for its time, looks at the injustices done to Native Americans. Very much grim in texture, it's no surprise to see Anthony Mann at the helm for this material. Mann of course would go on to become a Western genre darling for his run of "Adult Westerns" he would do with James Stewart. Prior to this Mann had showed himself to have a keen eye for tough pieces with dark themes in a few well regarded film noir movies. So this was right up his street, in fact a glance at his output shows him to be something of a master when it comes to showing minority groups sympathetically. MGM were nervous tho, unsure as if taking the Western in this direction was the way to go, they pulled it from release in 1949. But after the impact that Delmer Daves' similar themed Broken Arrow made the following year, they ushered it out and the film promptly got lost amongst the plaudits for the James Stewart starrer. That's a shame because this is fit to sit alongside the best work Mann has done.

Filmed in black & white, the film has beautiful landscapes that belie the bleak road the movie ultimately turns down. Shot on location at Aspen and Grand Junction in Colorado (the talented John Alton on cinematography), the film also manages to rise above its obvious eyebrow raising piece of casting. Robert Taylor always had his critics, hell I'm sometimes one of them, but here as he is cast against type as a Shoshone Indian, he gives the character conviction and a stoic nobility that really makes it work. Some of his scenes with the beautiful Paula Raymond (playing his lawyer Orrie Masters) are a lesson in maximum impact garnered from emotional restraint. You will be aware of the fluctuating skin pigmentation he has throughout the movie, but honestly look into his eyes and feel the confliction and loyalty and you really will not care.

Scripted by Guy Trosper (Birdman of Alcatraz), the screenplay is unflinching in showing how badly the Native Americans were treated. Throw that in with Alton's other gift, that of the dusty barren land shot, and you got a very film noir feel to the movie. Something which not only is unique, but something that also showed a shift in the Hollywood Oater. We now get brains to match the action and aesthetics of the Western movie. Not that this is found wanting for action, Mann doesn't short change here either, with a dynamite led offensive purely adrenaline pumping.

A fine fine movie, an important movie in fact. One that is in desperate need of more exposure. Still awaiting a widespread home format disc release, I quote Orrie Masters from the movie..."It would be too bad if we ever forget".... that applies to both the theme of the piece and the actual movie itself. 9/10

I just discovered this movie and checked it out because I'm a Robert Taylor fan. I soon got caught up in the story, which was a good one, but not the movie to watch if you're feeling a bit down and want something to help cheer you. (And if you're looking for the typical Hollywood happy ending, forget it.)

I wish I could forget the truths in this film, as they're far from pretty. As RT's character, Shoshone Native lance Poole discovers, fighting for his country in the Civil War, showing bravery in several famous battles, and winning the Congressional Medal of Honor won't make one bit of difference to the people who won't accept him in society, oppose his owning land and living among them, and wanting him to go to a reservation, where they believe he belongs. He was good enough to fight for his country, yet that same country repays him with bigotry, unfair laws, and social stigma. (A doctor won't treat his ill father, he's refused service in a saloon, and lawyer Verne Coolan (Louis Calhern) uses a loophole in the law to take away Lance's property, preventing him from homesteading.

Lance refuses to give up his land, and lets Verne know he'll have a fight in his hands. He finds an ally in Orrie Masters (Paula Raymond), a woman lawyer who tries to help him. (Her mother is played by Spring Byington, who gives a bit of comic relief to an otherwise downer tale.) In a surprising twist, she's shown respect for her legal expertise, and is accepted as having a most unusual career for a woman in the 1860's; no one's telling her to get a husband and have babies. (Though you get the impression that, had society been different and not put so many obstacles in their path, she may have wanted a home and children with Lance.)

Orrie tries helping Lance, by getting a petition together, to try and overturn the law, and when that fails, and Verne and a band of sheepherders try to force Lance off his land (he's supported a Shoshone tribesmen), Orrie calls in the Cavalry, hoping to put an end to the fighting, but instead they side with Verne, feeling the law must be upheld.

I won't give anymore away, I'll just say that the movie makes you think about how foolish people can be, and how ironic it is that Native people were made to feel unwelcome in a country that was theirs to begin with.

Another strong western by Anthony Mann.But like any intelligent western,this story is eternal.A man who fought for his country and who is denied the most legitimate of all his rights,just because he is an Indian:to own a little bit of the land to which he had given the most beautiful years of his life.That was the story of Mervyn Le Roy's "I'm fugitive from a chain gang" when Paul Muni was trying to sell his medals to survive.That would be the story of Liam Neeson in "Suspect" ,once a Vietnam veteran,now one of the last lonely and wretched .

Robert Taylor is extremely convincing,mainly when he is speaking of the land,of the way the Indians love it,of their communion with nature. We find the same emotion in Delmer Daves' "Broken arrow" ,released the same year.