O Matador

THE GUNFIGHTER is the seventh western movie I've watched in the last couple of weeks in my quest to catch up with a bunch of films I've never seen that I recorded from TV. And I've made sure I've posted a review as I viewed each for the first time.

THE GUNFIGHTER is another superb western from a director not normally associated with the genre. Falling squarely between the 1940s and 1950s, I was at first uncertain at to which camp this film fell into. It has all the incidents you'd expect in a 1940s oater, but overlaid with the kind of psychology and sensibilities you'd expect in a 1950s western. In the end, I decided this is a film about contrasts.

The first contrast you notice is the visual one. The movie is shot in black and white and it seems that those were the only two tones available to director Henry King. The exteriors are bright, bleached out and hard on the eyes. The interiors are dark, cool and gloomy. There doesn't seem to be much shades of grey going on (of course, I could have been watching a bad print, but work with me, here ...)

This visual contrast is echoed by the contrasts between the characters. The first of these we see is the contrast between Peck's Jimmy Ringo and the dumb kid who challenges him in the first bar. Ringo tries to talk him round, the kid won't have it and goes for his gun. But Ringo - of course - is faster. Darwinism at work ...

The next telling contrast is between Ringo and his old compadre, Town Marshall Mark Street. While Ringo still drifts from town to town, occasionally having to show some punk who's fastest, Mark has gone respectable and settled down. Mark is a respected citizen while Ringo's presence causes mothers to call their children indoors.

Then there's the contrast between Peggy, Ringo's estranged wife, and the gossipping, prejudiced biddies of the town. Is it any coincidence that Peggy is a teacher, representing education and, by implication, civilisation?

THE GUNFIGHTER is very tightly plotted at just 85 minutes. It seems longer because of the wealth of incident it packed into its slender running time. Film makers of today could learn a lot about how to pace a story from films like this.

If it shows up on TCM or somesuch satellite/cable channel, do yourself a favour and make the effort to catch it. It's well worth your while.

No need to recap what's essentially a well done, but one-note plot. It looks like the seeds of a hundred TV westerns get their start here as Peck's weary gunfighter shows the many ravages of being Top Gun. Then too, the clock watching plus the vengeful riders coming to town looks a lot like the later High Noon (1952). I suspect this was one of the more influential oaters of the period.

It's also shrewdly cast. Peck's rather stiff acting style works well for the besieged Ringo, a man now living mainly within himself since nobody can be trusted. But I especially like Mitchell's sheriff. He projects real authority tinged by an appropriate hint of understanding. Plus, he looks like a genuine frontier hard guy. Too bad this unusual actor died so soon. And was there ever a better dislikable young punk than Skip Homeier, who made a brief career out of such unlovelies. On the other hand, Westcott appears a shade too young (22) to be Ringo's wife and mother of an eight-year old, but at least she's not glamorous in the usual Hollywood style.

The climax is appropriately non-heroic, just a couple shots in an alleyway. Not exactly the usual Hollywood showdown. I suspect that's one reason for the rather mythic final sequence, for Peck has managed to inject a touch of nobility into the character of the ravaged gunfighter. All in all, it's a somber and elegiac eighty-minutes that eventually cast quite a forward shadow.

Is there any place, any retreat, any home of retirement, that an inevitably tiring gunman can move on to?

This predicament is best conveyed, explored and given its full tragic weight in Henry King's 'The Gunfighter.'

Ringo (Gregory Peck), wearing his reputation as the fastest gun in the south-west territories like a heavy load, enters each bar warily when he needs a quiet drink, knowing full well the reaction—fear, respect, perhaps admiration, and certainly the intervention in some form or other of a young upstart with itchy gun-fingers.

Although Ringo, guilty for previous sins, tries to refrain and to avoid the shoot-out... But he is always compelled to eliminate the worthless maladjusted gunmen, wishful for a big name...

The pattern is set early on when Peck has to shoot a boy (Richard Jaecke1) in self-defense. And so a feud begins—you feel it's only one of many—with the three brothers of the boy (Alan Hale Jr., David Clarke and John Pickard) hell-bent for revenge…

Peck deals with this situation, at least for the moment, sighs and then moves on to a place that passes for home... Here is his wife (Helen Westcott) and his son, who won't, however, be providing him with a welcome since in the eight years that husband and family have been apart the wife has been trying to build a life of their own… Here also is a sheriff (Millard Mitchell) formerly engaged in Peck's outlaw activities, but now reformed, and an old girl friend (Jean Parker) ready to he1p him in anything that concerns him most… His actual concern is reconciliation with his wife and a new life together… There is a tentative rapprochement but, of course, there is another of those young contender interventions, this time in the person of Skip Homeier…

Henry King draws up carefully the ultimate end of the 'top gun of the West.' His film is an inclination towards a classical tragedy, destined to be destroyed inevitably... Peck strikes the right note from his first edgy entry... He wants to shake off his past... He is disgusted to kill in order to survive... He is aimless for a change, sick with death and glory, showing tiredness of killing, conscious to a tragic fate one day...

Peck is superb in his brief and nervy reunion with his small son, impressed like the rest of the local kids by the fact that Jimmy Ringo, the gunfighter, is in town...

"The Gunfighter", keen and penetrating, explosive and tense, is beautifully acted, tautly directed and superbly photographed by Arthur Miller in black-and-white...

This film was made during the peak years of "Film Noir". Although it is almost incongruous to place the western film into that genre, "The Gunfighter" comes close to meeting the criteria.

It is a deep dark western devoid of gunplay(until the conclusion)highlighted by a marvelous portrait painted by Gregory Peck as Jimmy Ringo, the gunfighter, trying to escape his past.

Ringo in his younger days was one of the "fastest guns in the west" who has survived to reach middle age. As he has matured he realizes you can't change what has happened.

Everywhere Ringo goes he is perceived as the "the fastest gun in the west" and everywhere he stops there is some young gun who wants to prove he is faster than the great Ringo. In fact when Ringo stops in a dusty town, he is being pursued by three brothers of his latest victim seeking revenge.

Ringo's arrival in this town is more than just co-incidence. We learn that the sheriff (what a performance by Millard Mitchell) used to run with the Ringo gang, the saloon singer was married to Ringo's best friend, and most importantly, Ringo's wife and son live there.

The bulk of the story is spent waiting to see if Ringo who lives by his wits as well as his guns, can survive.

The acting is uniform with Karl Malden as the saloon keeper and Skip Homeier standing alongside Peck of Mitchell for acting cudos

The script by Bill Bowers is taught and suspenseful. Henry King's in his second of 5 films with Peck(their previous collaboration was "Twelve O'Clock High") brings out the essence of a tired lonely tragic man without using any tricks(In fact there is no music except for the opening titles.

If you're looking for a shoot-em-up you won't find it here. If what you want is a top flight adult western, well pardner you've come to the right film.

The Gunfighter established the trend for mature Hollywood westerns by having the hero be a mature gunfighter who wants to retire in peace, not in pieces. The movie created the line which has been parodied since "everywhere I go, some young punk wants to try me." Using Richard Jaeckle and Skip Homier as the young wanna-be gunfighters was a classic piece of casting, since both of them went on to play similar parts in westerns, although not together. One piece of trivia about this film was that Harry Cohn at Columbia originally had bought the script with the intent of having John Wayne play the lead. Wayne,by now, was a major star, producing his own films. Wayne wanted to do the role, but didn't want to do it at Columbia. As a young actor, he had been treated badly by Cohn who humiliated him after his disastrous first lead in "The Big Trail." Wayne told Cohn in so many words what he could do with his script. The script was then sold to Twentieth Century Fox. Wayne did play a similar role in his final picture, "The Shootist."