Duel au soleil

not great. only perfect. for the story, mix of different lines. for cast. and for the meet between Jennifer Jones and Gregory Peck in a last scene who impress again and again. it is a masterpiece . for the opportunity to discover a lost age of Hollywood in the best version. for the desire, and the reasonable result, to make a different western. and for its...humanitarian perspective about love and family. sure, I am far to be objective about it as admirer of Lillian Gish and Gregory Peck . but it is real good film. maybe, obvious, perfect.

Well, it's no Gone With The Wind. Selznick, again, features his wife, Jennifer Jones, in a different role than the usual wholesome roles she was expected to do. Portrait Of Jennie, Since You Went Away and Song of Bernadette. Jones has a bad habit of over-acting if allowed to do so. Example is Tender Is The Night, Man In A Grey Flannel Suit, Ruby Gentry and Love Letters. It takes a strong director to tone her down. King Vidor lost control of her in this or Selznick had too much control. Her performance consisted of a low gutteral voice and a sashaying walk. Not much else.

On the other hand, excellent supporting roles were played by Lionel Barrymore and Lilian Gish. They stole the picture in this viewer's opinion. Gregory Peck and Joseph Cotton went through the paces of what they were asked to do as rivalry brothers. But you kind of knew their hearts weren't in it. Then there was the presence of Butterfly McQueen in her usual Gone With The Wind type performance. Charles Bickford in an undistinguished role was wasted as was Herbert Marshall and Sidney Blackner [all good actors]. An impressive cast when the titles came on, but what followed was not what you wanted to see.

I got tired of seeing Jennifer Jones strutting about making faces of some indian half-breed. Boring. Oh, I liked the horse [the pinto] that she rode. He was terrific. Best to see this on video. Doesn't come off that bad. But it is a cornball western farce.

PURE OPERA. From the scenic backdrops seething in passionate colors to Jennifer Jones' over-ripe performance and Dimitri Tiomkin's tempestuous score...'Duel In The Sun' isn't just another soapy oater, it is the ultimate soapy oater. Brimming with more bad taste than any screenwriter could possibly misconceive, this Selznick classic is the penultimate guilty viewing pleasure...if you like you're Westerns on the sleazy side that is!

The performances are all unapologetically over-the-top, with Ms. Jones, in an Oscar winning performance no less, as Pearl Chavez, the 'half-breed' vixen torn between lust for Gregory Peck's Lewt McCanles, the bad-boy brother gone badder, and the 'save-me-from-myself' brand of love for Joseph Cotten's Jesse McCanles, the good brother with not-a-whole-heck-of-alot of sex appeal going for him. In between all this indecision, Ms. Jones sets fire to the scenery with as many sultry leers and poses as, I suppose, the censors of the time would permit her. "I'm TRASH, TRASH, TRASH," Pearl exclaims. And that about sums it all up. In spades! I should also make mention of the other Oscar winning performance, that by the venerable Lillian Gish as Laura Belle McCanles who, in perhaps the most painfully rapturous sequence, resurrects her silent film training in a tour-de-force of physical acting that, in less capable hands, would only be embarrassing. Not that you won't be tempted to laugh mind you, even Grand Opera, at the best of times, isn't this exquisitely sublime. And then there is Butterfly McQueen...as the befuddled maid (what else)...in the only role written for obvious comedic effect, whose long-winded sincerity couldn't be the more perfect foil for a hurried house full of whitees with nothing but sex on the brain...

On the technical side, it is an unquestionably ravishing film to look at. In glorious Technicolor, the 'Old West' never looked more mythic or more prone to tragedy...the 'campy' side that is. And, yet once more, Dimitri Tiomkin finesses our ears with a resounding melody of wide open spaces and of still bigger ambitions and desires, culminating in a symphonic tempest for two ill-fated (or over-sexed) lovers who could only be united in death.

WOW, this picture is right off the Harlequin Romance map! And I enjoyed every minute of it.

Released in 1946 and directed by King Vidor, "Duel in the Sun" stars Gregory Peck and Joseph Cotton as two rival sons of a ranch baron (Lionel Barrymore) in West Texas in the 1880s. When a striking half-breed (Jennifer Jones) comes to live on the ranch, she inspires love in the mild-mannered, educated son (Cotton) and unpredictable lust in the mocking, wild one (Peck). Lillian Gish plays the mother stuck in the middle while Walter Huston appears as a semi-questionable minister known as The Sinkiller. Charles Bickford is on hand as an older man also interested in the drama mama.

While the movie runs 2 hours and 24 minutes, a full 16 minutes is opening and ending music, which makes the runtime of the story itself just over 2 hours. Speaking of the opening "Prelude" and "Overture," the music (by Dimitri Tiomkin) is thoroughly passé and goes on way too long at 12 minutes before the credits, which last another 1:35. If you can get past that, though, this is a great old Western where the producers pulled out all the stops to entertain. Producer, writer and (uncredited) director David O. Selznick's ambition was to top "King Kong" (1933) and, particularly, "Gone with the Wind" (1939), two other pictures he produced.

Although critics fittingly dubbed it "Lust in the Dust," the movie WAS popular with the masses, no doubt helped by its controversial sexual content (which is tame today) and Selznick's affair with Jones, which broke up both of their marriages. They got married a few years later and it lasted till his death in 1965. Despite its box office success, "Duel" couldn't top "Gone with the Wind" and, being the most expensive film ever made at that point, it only broke even, although it eventually went on to make a profit with a re-release in 1954, etc.

Jones is notable as the heavy-breathing babe, but I personally prefer Joan Tetzel as the fiancé of the older son (Cotton). Also, Peck plays the bad son surprisingly well, considering how he's known for playing more noble protagonists, e.g. "The Big Country" (1958) and "Mackenna's Gold" (1969).

Bottom line: "Duel in the Sun" was just too big of a production to lose. Its story, while decidedly melodramatic, is compelling from beginning to end and there are highlights spiced throughout, including some stunning cinematography, amusing moments with horses and a couple of almost shocking sequences and story turns (e.g. the shootout in the saloon and, later, on the town street). To be expected, there are also some lowlights, but the movie always quickly recovers and maintains its footing. Lastly, there's a valuable moral hidden within the Western soap operatic shenanigans.

The film was shot in Arizona & California (too many places to list). The script was written by David O. Selznick & Oliver H.P. Garrett (and, uncredited, Ben Hecht) suggested by a novel by Niven Busch. ADDITIONAL CAST: Herbert Marshall, Harry Carey, Scott McKay & Butterfly McQueen.

GRADE: A

David O. Selznick spent the rest of his life trying to top Gone With the Wind. What other mountains did he have to climb after making the most acclaimed motion picture ever?

In addition he had another obsession, his second wife Jennifer Jones. He was going to make her the greatest leading lady in the history of film.

Well he didn't succeed at either, but it wasn't for lack of trying. Jones herself was in a peculiar position similar to her husband's. She got an Oscar for her first feature film after she changed her name from Phyllis Isley to Jennifer Jones. Selznick knew that she couldn't play saints all her life as she did in The Song of Bernadette. So for this western answer to Gone With the Wind as Pearl Chavez she plays about as opposite a character from Bernadette Soubirous as you can get.

Duel in the Sun got mixed reviews by the critics, but the public ate it up. It's the story of the McCanless family, parents Lionel Barrymore and Lillian Gish and sons Joseph Cotten and Gregory Peck. Cotten is the good son, Peck the bad one. In fact as Lewt McCanless Peck played his worst character until Josef Mengele in Boys from Brazil.

A kissing cousin of their's Jennifer Jones comes to live with them. She's the offspring of an old beau of Lillian's, Herbert Marshall and the Indian wife he ran off with back in the day. Lillian and Herbert were kissing cousins also.

As Pearl Chavez, Jen gets the McCanless boys testosterone going into overdrive. Take one look at her and you can hardly blame them.

One of the not so hidden subtexts of Duel in the Sun is racism. Jennifer's good for a quick roll in the hay, but marriage is out of the question, at least for Gregory Peck. Barrymore's and Peck's racism is overt, the others not quite so, but it's still there.

The negotiations with Louis B. Mayer for Lionel Barrymore must have been interesting. Selznick's former wife was Irene Mayer, Louis's daughter.

One thing with Selznick, he spared no expense. He got the best in talent for this film. Dimitri Tiomkin did the score, King Vidor the direction, Ray Rennahan the color photography which is absolutely stunning.

He even got Bing Crosby to record Gotta Get Me Somebody to Love with Les Paul's guitar. Peck sang it in the film, Crosby's record sold a few platters.

He even got Orson Welles to do the off-screen narration if you don't recognize that voice.

It misses being a classic mainly because Selznick couldn't keep his hands off it. Sometimes the acting is about as subtle as a sledgehammer from all the performers. I'm willing to bet it's Selznick more than Vidor.

Yet it's good entertainment and Duel in the Sun does have its moments.