Sangue Bravo

We all project ourselves into the books we read and films we see, so the more closer to our lives the entertainment vehicle is, the greater the experience and enjoyment. So I suppose this film would have just been another oater for me but for that one small detail.

The Outriders was a typical late '40s western movie, so the only reason I decided to watch it was that I like Joel McRea. Otherwise I might have passed on this 55 year old sage brush saga. But once it started, the female lead, Arlene Dahl, caught my eye.

Ms. Dahl could have been just another late 1940s blonde, blue eyed movie star in another late 1940s oater except for two things. first, she looked uncannily like my high school sweetheart (I know, everyone has an old high school sweetheart-go watch American Graffiti) but she really did look like her. And secondly, she spoke softly and moved, glided across the stage, just like *** did.

Then the story line somewhat mirrored the relationship we had. A tough and dangerous outlaw meets a sweet, honest and stunning beauty. I let myself slip into the fantasy of this movie figuring it would be a nice bit of nostalgic escapism. but then came the dance scene during the wagon train's stop on its overland journey.

Head honcho Will Owens (McRea) tells Jen Gort (Ms. Dahl) to stay in the wagon to avoid getting the trail hands stirred up, but when the men break out fiddles and guitars and start singing around the camp fire, she comes out, dressed to the nines with her dancing shoes. Jen glides effortlessly across the camera's view and dances with all the men, politely and dignified, yet strikingly alluring and all woman.

But what touched me was when she told Will Owens "you wanted me the most". No modern day tawdriness; nor erotic film scene with naked, sweating bodies could convey the message any clearer than her voice, her eyes and those words. It took me back.

This film may just be another fast paced western to most, but to me it is **** and me. I miss her.

The Outriders fulfills its genre with minimal expense but maximal outcome. Only a few brief frames appear spectacular, and many of the pleasures are among the overlooked qualities of the mid-20c Western: laconic dialog, complex plotting, psychological challenges, friendships and honor tested. The budget and production values are always restrained, but the strength of the studio system shows in excellent lighting and color plus a number of realistic outdoor scenes blending finely with studio effects. Other reviewers noted the convincing mattes of Santa Fe, but I felt almost intoxicated by the deep blue sky-backdrop to the camping scene that turns from a comic riot to a dance of love.

The other virtue of the studio system is the stable of professional actors who perform their roles not to steal scenes but in service of the plot. Joel McCrea may excel even Randolph Scott in saying the most with the least words while never ever lying--the Western-hero actors of their generation internalized completely the cowboy as a latter-day knight, and the alchemy of script and star is fascinating. Arlene Dahl may be even more economical with her speech than McCrea. In the central dance scene she speaks not a word until a critical moment, then agrees to dance with McCrea only if he bows to put fresh shoes on her feet. The scene is all about sex, but the actors, the script, the direction, and the genre completely control the sexuality's expression.

In the supporting ranks James Whitmore, not yet 30, is convincing as an old-coot warrior-sidekick with kidney trouble, while Ramon Navarro--a former sex symbol entering his 50s--plays a Mexican padrone who's still got chops. Barry Sullivan and Jeff Corey remain menacing even when they're acting cooperative. Claude Jarman, Jr. is always worth watching but the director or editor seemed to forget he was in the movie.

I couldn't stop watching, but the less-enthusiastic reviewers have a point. The film fulfills its genre so professionally that it never falls below a certain level. But those same qualities make its most beautiful moments somewhat understated, like something even better might once have been imagined but for now they need to finish a movie.

THE OUTRIDERS is a good workmanlike Western. There are no real surprises in the story, but there are some very strong performances. Joel McCrea gives his usual conviction to the hero role, with Barry Sullivan nicely devious as his comrade/rival. Arlene Dahl looks great, but tends to pout a bit much, James Whitmore lends sturdy support in the type of role normally played by Walter Brennan, Claude Jarman Jr. plays another of his doomed youths, and Jeff Corey is quite extraordinary as the villain (with almost expressionist make-up, and did he intend to imitate Kirk Douglas?).

But the movie is stolen by silent screen legend Ramon Novarro in one of his more substantial later roles. He essays his character perfectly, giving it much more depth than was in the screenplay. He also lends the part style, grace, dignity and humor (that "Pagan" sparkle never left his eye, despite his rather sad life).

In short, definitely worth seeing for the performances, and the gorgeous technicolor. What a shame the script and direction don't match them.

Confederate prison escapees plan to hi-jack a Union gold shipment and divert it to the South. Priorities, however, are complicated by a key rivalry over a girl and a temptation to just keep the riches for themselves.

Better than average Technicolor western. For once, MGM's tendency to over-produce its horse operas gives way to a wise use of money for a western. Happily, glamour and glitz are kept in check, except for actress Dahl. Still, her wardrobe for a wagon train is not too outlandish. Instead, the production makes excellent use of its scenic Kanab, Utah, locations, along with a fine A-list cast and enough extras to make the battle scenes interesting.

What grabbed me, however, are two storyline surprises that defy expectations. Plus, for once, battles don't just unfold willy-nilly, instead Owen (McCrea) thinks along tactical lines to gain an advantage. Sure, a hi-jacked gold shipment and a rivalry between sometime buddies (McCrea & Sullivan) are familiar plot devices. Nonetheless, it's a better-than-average script, with several good touches (e.g. Sullivan's loaded gun at the end).

That river-crossing scene is clearly the movie's centerpiece and is impressively done. The torrent is big and bad enough to make the fording a genuine nail-biter. I'm guessing those were not easy scenes to film.

Anyway, it's a fine McCrea western even though he gets less focal time than usual.

Joel McCrea did another western with a similar premise to The Outriders for Warner Brothers in South of St. Louis. That was three partners in a cattle ranch who all went their separate ways as a result of the Civil War.

Here to the premise is three men who also go their separate ways as a result of the Civil War. Here the shared experience is prison camp. Joel McCrea, Barry Sullivan, and James Whitmore are Confederate prisoners who escape in early 1865. In effecting their escape they fall into the hands of a rebel guerrilla leader played by Jeff Corey.

Being guerrillas these guys don't play by the rules. The trio either goes west to Santa Fe to act as Judas goats and lead a gold train into ambush or die right there. Even the always honorable Joel McCrea sees he has no options here.

The rest of the story is how the conflicts internal and external are resolved and how the three escaped prisoners decide what course they have to take. Oh, and Joel McCrea meets up with Arlene Dahl and she kind of helps him along in the decision process.

The movies never had a more honorable or stalwart hero than Joel McCrea. And if you've seen any of his films, fans will know that whatever he does it will be the honorable thing. It's a tribute to McCrea that if he insisted on always being the stalwart hero, he had the talent and personality to carry it off.

It's familiar ground for Joel McCrea, but western fans will like the story and the gorgeous technicolor photography that captures it.