Le poney rouge

It is hard for me to believe this is a John Steinbeck novel and screen play, it is the complete opposite of anything that Steinbeck has ever written. Myrna Loy, (Alice Tiffin) plays a rather quite woman who lived in the Salinas Valley all her life and is a very calm mother with her son Tom and her aging father who repeats stories over and over again until I even got tired of hearing the grandfather, (Louis Calhern) repeat his lines over and over again. Alice Tiffin's husband came from San Jose, California and is beginning to drift away from the ranch and wants to work with his brother who lives in San Jose. Robert Mitchum, (Billy Buck) plays an outstanding role and seems to be the only person who puts his heart and soul into this picture. Louis Calhern gave a great supporting role and I just think that Myrna Loy did not belong in this film.

The most truly American of classical composers, Aaron Copland's stirring music score is what still resonates most in this almost forgotten 1949 film, even though it boasts an impressive pedigree - a screenplay by John Steinbeck based on his own collection of short stories, direction from film veteran Lewis Milestone ("All Quiet on the Western Front", Steinbeck's "Of Mice and Men"), and A-list stars in Robert Mitchum and Myrna Loy. It was the most expensive picture ever made at Republic Studios, a poverty-row operation that was kept afloat thanks to a successful string of John Wayne westerns. On the surface, the movie seems like kid-friendly fare, but it also presents some interesting psychological subtext on the family unit and a surprisingly graphic scene that triggers the story's climax.

The story focuses on a young boy named Tom Tiflin, who lives with his parents on a ranch in the Salinas Valley. His no-nonsense mother Alice was raised in the area, but his emotionally indifferent father Fred comes from San Jose and has never felt at home despite spending years on the ranch. On a long-term visit to the ranch, Alice's father is an old coot who repeats the same stories about the old West much to the consternation of Fred. Moreover, Fred's constantly conflicted state has pushed Tom closer to devoted ranch hand Billy Buck. Family tensions give way to a red pony, Fred's present to Tom. Naturally, the boy focuses his full attention on the pony, even cutting class to take care of it after it ambled outside during a heavy rainstorm. The rest of the story plays the way one would expect from a parable about personal obligations and coping with tragedy. Milestone lends a painterly quality to the proceedings, but he doesn't delve deeply into the characters' motivations. This was probably an intentional decision since the picture seems designed to be more of a Disney-type live-action film. The superficial treatment, however, leaves some aspects of the story oddly unexplained.

The resulting lapse leaves the actors to fill in the blanks. Even in a sketchily written role like Billy, Mitchum exudes his famously coiled presence in the face of a character that seems too good to be true. Stripped of her sophisticated charms, a ghostly-looking Loy lends a stoic dignity to Alice that gives just a small glimpse into the marital struggles her character is obviously facing. A year away from playing his archetypal role of Oliver Wendell Holmes in "The Magnificent Yankee", Louis Calhern brings bluster and unexpected poignancy to the grandfather. As Fred, Steinbeck look-alike Shepperd Strudwick does the best he can in a relatively thankless role. Nine-year-old Peter Miles is generally affecting as Tom, though he can't seem to get past the boy's obsession into something more moving. That is indeed the Wicked Witch of the West, Margaret Hamilton, playing a minor role as Tom's perturbed schoolteacher. As noted with Loy's appearance, the color seems sadly faded in the print housed in the 2003 DVD, and unfortunately there are no extras offered - a true shame considering the talent involved.

Like John Garfield, Robert Mitchum is yet another one of my very favourite actors from that particular, by-gone era of moviedom history.

If you ask me, Mitchum was such an easy-to-like actor. Without any apparent pretentiousness, he casually projected just the right kind of masculinity (on-screen) which unanimously appealed to both men and women, alike.

So, with keeping that in mind - Is it any wonder that I found the best scenes in The Red Pony to clearly be the ones where Mitchum played a direct part in the action? I mean, without this dude's presence I probably wouldn't have enjoyed this film to the degree that I did and I most likely would've rated it somewhat lower, as well.

For the most part - I'd say that The Red Pony (which was beautifully filmed in lush Technicolor) was a film that would be best enjoyed by children. There really wasn't much of a tale in this sentimental, Hollywood Western to hold the rapt attention of an adult.

This is a beautiful motion picture about a boy and a horse (and there are many of those). Adapted by John Steinbeck from the author's own short stories, it captures its rural setting perfectly, and the entire production is enlivened by strong characterizations. Louis Calhern is especially fun as Grandfather, and Margaret Hamilton shines as a stern schoolmarm. But the real star, aside from the titular animal, is the dialogue. The people in this story speak so realistically and naturally, it spoils you and makes you wish all films were written this way. An added bonus is Aaron Copland's music. Remade in 1973 as a television movie by Universal.

Herbert J. Yates presents John Steinbeck's THE RED PONY (Feldman Productions/Milestone Productions/REPUBLIC PICTURES, 1949) Starring Myrna Loy, Robert Mitchum, Louis Calhern. Written by John Steinbeck, Directed by Lewis Milestone, Original Music by Aaron Copland.

REPUBLIC PICTURES, long the mainstay of the "B" Western, the Juvenile Comedy Series and (of course) the Saturday Matinée Serial, occasionally brought out through release a truly remarkable film. Case in point, we present you with The John Ford & Merion C. Cooper Argosy Production of THE QUIET MAN (1952). Films of such stature are rare anywhere and particularly so when produced (at least in part) by an outfit such as "The Thrill Factory". There were many others over the years; but as we said in the whole they were rare.

LIKEWISE we have the case of this John Steinbeck tale of family, generational gaps, hero worship, fraud and ultimate discovery of mutual humanity; with of all its virtues, frailties and foibles notwithstanding. The screen adaptation is a surprisingly successful blending of emotion all around the spectrum. Although we have a setting in the American West , in the early part of the 20th Century, well after the Frontier had been tamed; we find the story to be universally relevant and relative to all in any time, setting or situation.

FOR a project that is at least partially founded in a "poverty row", lesser tiered Hollywood Studio, the film marshals first rate talent from the best of that available. The Cast, featuring such luminaries as: Myrna Loy, Robert Mitchum and Louis Calhern, is equally well supported in the lower portions by fine performers with less well names. Shepherd Standwick, Margaret Hamilton, a young Nino Tempo and an even younger Beau Bridges (yeah, Lloyd's Son, Jeff's Bro). We're also treated to an uncredited appearance by Pro Wrestler, 'Wee Willie' Davis as a truck driver.

THE cinematography is beautiful and the open country natural settings are truly breath taking. Stark realism, as exemplified by the ranch buildings and corrals, barn, etc., receives an outstanding dose of contrast by the finely conceived and rendered dream sequences. One tends to magnify the intensity of the other. The inclusion of the Technicolor Process is used to the utmost level; making for the best and most natural palette on any screen.

LEST we forget our hearing, we must make mention of the beautiful original score composed by Mr. Aaron Copland. The theme and the incidental music, while sounding like vintage Copland, still manages to be a unique overall composition; deserving to be classified as a symphonic masterpiece, had it been written in another era.

IN the hands of veteran Director's Director, Mr. Lewis Milestone, the story manages to Classify itself as being virtually unclassifiable. You'll find no pigeon holing or square and round pegging here. What could well be called a Western, a Comedy, a Coming of Age Tale, a Family Story or a Juvenile Tale, could be and would be classified in any of these categories; ergo, it's in essence none of these.

AND that my dear Schultz, is what we believe to be the real criterion for true, singular classification and uniqueness. That's It and That's All, Story Over!

POODLE SCHNITZ!!