La Rivière d'argent

Flynn plays an unscrupulous sleaze-bag for most of the film, and it fits him like a glove. Sheridan is plucky but not quite as beautiful as I'm used to seeing her. Flynn is out after the married Sheridan with a leer in his eye, but there's not a lot of sexual tension once he's got his hands on her. Large-scale battle and mob scenes show off the large budget. Better than usual score from Max Steiner. A nice A-production from Warner Brothers that you probably haven't seen, but not much more than that.

Despite Stephen Longstreet and Harriet Frank's too verbose screenplay (was it really necessary to give Thomas Mitchell THREE condemnatory speeches of Errol Flynn when one would do?) and noted action director Raoul Walsh's obvious discomfort with examining the vicissitudes of the passionless Ann Sheridan/Bruce Bennet marriage to say nothing of trying to enliven business intrigue centered around cornering the silver market, I kind of enjoyed this rare foray of Flynn into anti hero-dom. Don't know whether it's because it mirrored what was going on in his private life or if he's just an under rated actor, but the guy does dark complexity of character rather well, in my opinion. Give it a B minus.

PS...The scene with U. S. Grant has to be the most superficial Hollywood portrayal of an American president until Pat McCormick essayed Grover Cleveland in Altman's "Buffalo Bill And The Indians", (another flawed but fun western).

This movie is a bit of a downer. The plot is hardly upbeat. It is a pessimistic story. Pessimistic stories can be engrossing-look at "The Treasure of Sierra Madre" for example-but, here, not all that much interesting happens. The performers do their usual shtick.. Sheridan, Bennett, and Mitchell are exactly the people you expect them to be, based on countless other movies. No great disadvantage, but no real advantage either.

Flynn is the main problem, but the problem is not with his looks. He appears older but still fit and handsome. He reads his lines and does his character well enough; his character is bitter and angry and cynical. But something very important is missing. The character is in no way likable. He is without humor, and, except for anger, without any juice, without any elan, without any positive emotion. We don't sympathize with him. We don't care if he repents.

Flynn looks unattractive because he plays an unattractive character. The movie has only a modicum of entertainment value primarily for this same reason.

Bearing in mind its problematic production this western hasn't turned out too badly. By the time he made this Errol Flynn's halcyon days had gone and his stock with Warner Bros was pretty low. He was in his prime and still 'box office' but his lifestyle was beginning to take its toll and his behaviour to test everyone's patience. Of the last two westerns he made before the studio terminated his contract, this one is infinitely better than the second although that wouldn't be difficult!

His co-star Ann Sheridan was herself no stranger to 'the sauce' and by all accounts she and Flynn sat around drinking iced water laced with Vodka.

Moreover director Raoul Walsh excelled in action sequences and soon became impatient with the rather verbose script. It must be said that after the thrilling opening sequence the rest of the film is something of an anti-climax.

Despite all this there is a great deal to recommend this film and its momentum keeps one watching. The direction is taut, the editing by Alan Crosland Jr is razor sharp and maestro Miklos Rozsa has provided a magnificent score.

The performance that stands out is that of Thomas Mitchell. He is a drunk who first becomes Flynn's lawyer and finally becomes the voice of his conscience. His part is the best written and he steals all of his scenes.

There is alas no great chemistry between the two stars and the scenes where they fight are far more effective than those in which they love. Flynn plays his part of a morally ambiguous, self-made businessman with aplomb but Miss Sheridan looks distinctly disengaged and lacks conviction. She was singularly unimpressed with the finished product.

This is far from being a classic western but one is happy to accept its weaknesses in exchange for its strengths.

Directed by Raoul Walsh, who undoubtedly was one of the maestros of the western genre, Silver River hardly can be called one of director's best works. It was the last Walsh's film made with Errol Flynn, and the only one they made together that hadn't achieved success at the Box Office.

The story of Silver River is based on a novel by Stephen Longstteet, but it's also an apparent `western' retelling of Bible's story of King David. The film begins at the time of battle of Gettysburg during American Civil War with a quite remarkable chase sequence where the wagon of Captain of the Union Army Michael McComb (Errol Flynn) is chased by Confederate soldiers who are after the 1 million $ of Union money destined to be paid to the soldiers. In order to avoid that the Confederates take the money, McComb decides to simply burn it. As a consequence of this act, he's expelled from the army.

An unscrupulous adventurer, McComb moves to the silver mine town in the west, where he quickly becomes rich and powerful mines' owner along with his partner Stanley Moore (Bruce Bennett) controlling all the town's industry and banks. Nothing can stop his greed and ambition and he further rises to power and an enormous wealth, promptly sending his business partner to death, marrying his beautiful wife Georgia (Ann Sheridan) and becoming the only master of the town and one of the most influential and rich men in the state. But his triumph doesn't last for a long time for his achievements tend to be impermanent as everything in this world, so by the twist of fate he finds himself again on the bottom of the well losing everything.

Quite an average western with nothing particularly good or particularly bad about it, thou in my opinion worth watching, but don't expect to be much entertained by it or you might be very disappointed. 7/10