L'énigme du lac noir

I first saw this peak time one Saturday night on UK ITV in the '70's and it's always stuck with me. It's a B+ Western with a good story and production, good acting and photography, and the very definition of Simple Yet Effective.

Six convicts on the run from a posse in blizzardy California in 1871, become five and then apparently stumble across a small settlement solely er manned by women. It turns out that their menfolk are away on some premise but on their way back while the good convict handsome Glenn Ford was waiting for one of them to return so he could kill him for revenge. Slimy Zachary Scott played the main bad convict manically convinced there was a fortune to be stolen somewhere. The women were in the main only lonely but the bad men were hogged up and dangerous even when not armed, and confirmed main old dame Ethel Barrymore's concern that they were wild bears and not men. The characters were all strong and strongly delineated, if made today the sex would probably be literally in your face but there'd also be a much greater sublety in everything as films are taken more leisurely nowadays. Everyone followed their correct moral paths right down to the morally ambiguous ending – however I suppose Glenn Ford should really have owned up to save the moral dilemma he put both the townsfolk and the majority of us viewers through who think it a good ending to a good little film.

Unusual, exceptional western has six fugitives from a Nevada penitentiary on the run from the law in a snowstorm, taking refuge in a remote woodland village inhabited only by women, mostly wives of traveling prospectors. Glenn Ford plays the falsely accused thief of $40,000 out to kill the liar who wrongly fingered him for the crime and stole off with the money himself; Gene Tierney is the crook's unknowing intended, who instead develops a passion for Ford. Interesting tale plays out melodramatically rather than as a suspense story; still entertaining however, with excellent lead performances and solid work from Ethel Barrymore as the elderly matriarch of the ladies. There's an exciting wrap-up to the whole thing (topped with a dandy fall from a mountainside), plus a narrator telling us it was all based upon a true occurrence. That seems unlikely (as rendered here), though it makes for a rugged adventure with romantic asides. **1/2 from ****

In "The Secret of Convict Lake" danger looms in the winter of the 1870's when escaped prisoners hide out at a colony consisting mostly of women. There's enough drama to hold your interest as the ladies unleash some of their own frustrations as they contend with some slimey characters. Of course the "secret" is another matter which I won't reveal. The exceptional cast includes Glenn Ford, Gene Tierney, Ethel Barrymore, Zachary Scott, Ann Dvorak, Jeanette Nolan, Helen Westcott and Ruth Donnelly. There's also an impressive performance from Robert Hylton an actor with potential who should have had a bigger career in Hollywood.

Those opening scenes of mushing through snow under arctic conditions made me appreciate the comforts of an easy chair and fireplace. It's an oddball Western from start to finish with a strong cast and a noirish atmosphere. Essentially a band of escaped convicts invade a small mountain village whose men are away leaving only the women. As you can guess a number of subplots evolve from the premise, the most important of which has Glenn Ford trying to clear himself of an unjust murder charge.

I love it when evil-eyed bad guy Jack Lambert has a stare-down with gimlet-eyed bad guy Zachary Scott. It's almost like a couple of Darth Vaders squaring off. There are a number of good scenes most of which involve Scott, especially when he's vamping the hapless Ann Dvorak. But, the best scene defies our expectations when the two youngsters run off to the woods. It's a chilling, well done sequence. The cast is almost an A-list, with Ford quite good as the resolute Jim Canfield when he stands up to the other four convicts. Ditto, the other performers who manage to make some difficult dramatic scenes convincing enough.

And catch that ending. It made me wonder just what does comprise a "duly constituted jury". It's an unusual resolution for its time, to say the least. I don't think I ever found out the "Secret" of the title, nor I believe do we ever see Convict Lake. Nonetheless, there's more than enough going on to fill a lively 83 minutes, and I agree with the others that the movie is generally an under-rated Western.

The Secret of Convict Lake is directed by Michael Gordon and collectively written by Anna Hunger, Jack Pollexfen, Oscar Saul and Victor Trivas. It stars Glenn Ford, Gene Tierney, Ethel Barrymore, Zachary Scott, Ann Dvorak, Barbara Bates, Cyril Cusack, Richard Hylton, Helen Westcott, and Jeanette Nolan. Music is by Sol Kaplan and cinematography by Leo Tover.

I came here to kill one man. I don't mind killing a couple of others if I have to.

It's winter time here at Diablo Lake, and the five convicts who have survived the escape find themselves holed up in a remote village. Their reasons for being there differ, more notable though is that the men of the village are away prospecting, meaning the village is only currently populated by women.

It's a fine bubbling broth of scenarios, each convict is different, ranging from unstable psycho type, alpha male, twitchy youngster, simpleton and on to the calm likeable one who doesn't appear to belong in this company. So with the reasons for the men being here established, narrative then jostles with the inner fighting of the convicts, and the various emotional strands of the women folk. Suffice to say there is sexual tensions, mistrust, misrule, macho posturing and of course secrets to be born out.

Violence is sporadic but potent upon arrivals (one instance especially grabs you by the throat), and with the mystery of the men's crimes a constant question, intrigue makes for an enjoyable companion. Tech credits are uneven. The studio bound feel of the village sequences which fill out 90% of the pic are an itch, making you hanker for the more expansive snowy terrains that greeted us at story beginning. However, Tover's monochrome photography is suitably mood compliant, even if Kaplan's score isn't, while the lead actors are giving good value to offset some of the histrionics elsewhere.

Perhaps not the firecracker it could have been, given all the elements involved - particularly annoying that a strong feminist bent subsides into token play - this is none the less a most interesting piece that holds attention throughout. 7/10