Ciel rouge

The novels of Luke Short paint a dark picture of the old west and Hollywood has made good use of them in making some really good westerns. Blood On The Moon is one of the best screen adaptations of one of his stories.

A quick cursory glance of the films made from his stories, Ramrod, Ambush, Station West, Vengeance Valley, Coroner Creek all of them are pretty dark, almost noir like stories set in the old west. Blood On The Moon has Robert Mitchum as a cowboy sent for by his friend Robert Preston to be part of scheme to grab the herd of cattle baron Tom Tully.

Not that Preston wants to do a little honest rustling, no his is a complicated plan involving getting the small ranchers and homesteaders riled up against Tully and getting a small range war started. He's even seduced one of Tully's daughters, Phyllis Thaxter, into betraying her father with promises of love and undying affection.

All of this is a bit too much for Mitchum for whom it is alluded was quite the hellraiser in earlier times, but now is just sick of it all. Tully's other daughter Barbara Bel Geddes is checking him out if he would only break with Preston.

When discussing this film in his book about Robert Mitchum, Lee Server makes the point that this film was far from what RKO planned for its star. Originally Mitchum was to be the white hat cowboy hero and successor as its B picture western star when Tim Holt went off to World War II. Little did they dream at RKO back in 1944 when Mitchum made his first with top billing, Nevada that he would be in this kind of western and do it so successfully.

Preston had finished with his contract at Paramount and was now freelancing. We now know him primarily for The Music Man, but in his early film days he played many a villain and this one is a study in malevolence. His superficial charm even carries menace with it.

Blood On The Moon enters that list of really top notch westerns that were originally authored by Luke Short. Try not to miss it when broadcast.

The movie is similar to the earlier Pursued, which is also starring Mitchum, but somewhat on the lighter side. The movie suffers a little from an uninspired end, but Mitchum's spectacular fall-out monologue in the saloon alone makes this movie worth watching (plus the good story, good acting, and spectacular scenery...).

This film is a dark, brooding affair that has plenty of action and suspense and unfolds like an urban thriller. The story is lean and straightforward in its plot development of a range war, a staple of many westerns. Robert Mitchum is excellent as a drifting cowboy who gets caught in the middle of a feud between cattle ranchers and Barbara Bel Geddes matches him with her portrayal of a tough, feisty ranch girl. Robert Preston is also good as a rancher at odds with Tom Tully in their range war and there's a romantic angle that further complicates matters between the ranchers. The picture has crisp black and white camera work with noir shadings here and there and the music is also good. Of note in the film is a savage saloon brawl notable for its intensity, a brutal confrontation that ranks among the best in any western.

This is perhaps the greatest of the noir westerns. Director Robert Wise had been in charge of the mythical "The Curse of the Cat People," not a sequel to the horror classic, "Cat People," as the studio expected, rather a fantasy film highlighting the imagination of a little girl.

Working with darkness and shadows emphasizing the mood of the picture makes "Blood on the Moon" seem gloomy and pessimistic, but actually the film is more about the redemption of a hopelessly lost cowboy, Jim Garry (Robert Mitchum), who finds meaning in life through the love of a woman, also named Amy (Barbara Bel Geddes) as was the little girl in "The Curse of the Cat People." The opposite of Jim Garry is his so-called pal, Tate Riling (Robert Preston). Rather than redemption, Riling falls deeper and deeper into the maelstrom of depravity, murder, and deception. Even his romance with Amy's sister, Carol Lufton (Phyllis Thaxter), is a treacherous, deceitful one. Riling uses Carol for his advantage, at times against her own family, while she is truly in love with him. Riling has few redeeming qualities and is bad through and through. The relationship between the two, Riling had actually invited Garry to join him, knowing what an expert he was with a gun, is the crux of the film. The story about the feud between the homesteaders, pawns for Riling, and the ranchers is a superficial one. Character studies make the movie worthwhile.

Walter Brennan as Kris Barden, a homesteader fooled by Riling for awhile, has a pivotal role showing how Riling's double dealings and egomania eventually catch up with him and destroy him. "One may smile, and smile, and be a villain" only so long. Barden is a counterpart to Garry's character. Frank Faylen, as Indian agent Jake Pindalest, in collusion with Riling's schemes for self-aggrandizement, on the other hand represents a counterpart to Riling's character.

The title is one of the best ever for a western. Supersitition has it that when there is blood on the moon (a particular atmospheric appearance of the moon), it's a sign that someone is going to be killed. When I was a boy one of my friend's dads operated a movie theater. He had accumulated a closet full of movie posters over the years. One day he was cleaning out his closets and asked me if I wanted the old posters. I eagerly latched on to them. Two posters impressed me above all the others. One was " The Grapes of Wrath" poster; the other was the "Blood on the Moon" one. Something about those titles and the art work on the posters grabbed my mind and my imagination. I didn't get to see either film for many years, eventually seeing them on TV. To me the magic of the posters matched the magic of the movies.

"Blood On the Moon" is one of those psychological westerns that emerged in the late 40s. Director Robert Wise and cinematographer Nicholas Musuraca were both graduates of the Val Lewton film noire school of film making. Photographed in the shadowy dark black and white common to film noire, this picture turned out to be a better than average western.

The story has drifter Jim Garry (Robert Mitchum) riding into the middle of a dispute between cattleman Lufton (Tom Tully) and a group of homesteaders led by Tate Riling (Robert Preston). Riling has hatched a scheme unbeknownst to all together with Indian agent Pindalist (Frank Faylyn) to cheat Lufton out of his cattle and sell them to the army at a huge profit.

Garry is initially hired by Riling but soon sees how Riling is fooling the homesteaders and changes sides. Helping him make this decision is Lufton's daughter Amy (Barbara Bel Geddes) with whom he falls in love. Lufton's other daughter Carol (Phyllis Thaxter) meanwhile, is in love with Riling and betrays her father in the process. This all leads to the inevitable showdown at the end.

The photography is at times spectacular. The outdoor panoramas are breathtaking. However, it is somewhat marred by the cheap looking back projection shots (especially during the stampede sequence) and several "studio exteriors". There also is an excellent graphic fight scene involving Mitchum and Preston.

Mitchum is excellent as the brooding drifter with a conscience. Preston makes a despicable villain using all around him to attain his goals. Bel Geddes is good as the heroine but Thaxter takes the female honors as the gullible sister.

The rest of the cast is comprised of many familiar faces to western fans. Walter Brennan, Charles McGraw and Zon Murray play various homesteaders, Bud Osborne is Tully's trail foreman, Clifton Young and Tom Tyler play Preston's gunslingers and Richard Powers (aka Tom Keene) plays Tully's ranch foreman. If you watch closely you'll also see Harry Carey Jr., Iron Eyes Cody, Chris Pin-Martin and Hal Talliaferro (aka Wally Wales) in various smaller roles.

An good western; a good example of film noire.