Les aventuriers du désert

In 1948 the blockbuster movie John Huston's "The Treasure of the Sierra Madre" hit the big screen. This cinematic masterpiece took the entertainment world by storm and spawned several copies and variations including this early John Sturges flick. The same year 1949 saw a much better version on the same theme "Lust for Gold" starring Ida Lupino, Glenn Ford, and Gig Young, though neither reached the lofty peaks of Huston's classic. Coincidentally stalwart character actor Edgar Buchanan was in both films. Though "Lust for Gold" is better, "The Walking Hills" has its own merits. This thirst for hidden treasure is a recurring theme throughout mankind's existence on earth going all the way back to Soloman and before. During the post-World War II period when this film was released there was even a mad rush to find uranium because of the arms race involving the Cold War and the specter of the atomic bomb. Geiger counters became the rage. Hollywood hoped to cash in on this craze.

One facet of "The Walking Hills" that caught my attention was the role played by Randolph Scott(Would you believe Jim Carey?). Apparently a fairly well-to-do horse breeder who talks about the races, his energy and time centers more on his mare who is about to foal than on the gold or the attractive Chris Jackson, played with sexual magnetism by the lady with the hypnotic eyes Ella Raines. He comes across as somewhat selfish and even pushy when he assumes leadership of the group of fortune seekers who did not ask his assistance. Only Frazee (John Ireland), the apparent private dick, attempts to stand up to him to no avail. Naturally, his reason is as selfish as Carey's. Actually, this is one of the most complicated roles Scott ever played and he shines as the brilliant actor that he was.

Of the gold seekers, Arthur Kennedy is virtually wasted in a nondescript part. A face you seldom see on the big screen Jerome Courtland does a fine job in his part which is also somewhat mysterious. Willaim Bishop who tragically made too few films before his untimely death from cancer does well as the fugitive member of the gold seekers (Is he the only fugitive present?). Wily Edgar Buchanan as Old Willy talked the well-worn philosophy that he did so well. It's good to see the pop blues singer Josh White in a rare film appearance. One wonders why he didn't make more movies. His acting is almost as good as his singing and guitar playing. This is one of the few westerns (maybe the only one) that features the blues rather than country and western or Hollywood music. White was never quite the legend that Leadbelly was but some of his music was influential on the later folk revival in America.

The script by Alan LeMay who wrote the novel from which "The Searchers" was adapted, leaves a lot to the viewer's imagination. There is much that is hidden and esoteric. Some of it is revealed by director Sturges in flashbacks but much goes unanswered. This is a ploy used by Hitchcock in many of his films. Hitchcock believed that certain parts of a story should be left to the imagination. Apparently LeMay felt the same way.

There is much talk and conflict among the seekers that eventually leads to death for some of them. Nature intervenes in the form of a sandstorm, the highlight of this movie and not to be missed. Sturges shines as a director throughout with his innovative use of the camera, but the sandstorm is a treat to behold. The storm is also metaphorical. It washes away much and reveals much about human nature and the souls of the seekers. The Death Valley locale is appropriate for both story and character development.

The title "The Walking Hills" refers to the shifting sands that form dunes that seem to walk like humans. The sand dunes may also hide items mankind values and then suddenly make them reappear.

Since 1945 when Randolph Scott decided to concentrate almost exclusively on westerns only one of his westerns was set in the modern west and that is this one, The Walking Hills. Shot on location the film holds it own with such gold hunting classics as The Treasure Of The Sierra Madre and Lust For Gold.

Sitting around a poker table one night Edgar Buchanan starts recounting a tale in which a wagon train loaded with sacks of gold dust got lost in the desert in the great Southwest. They're quite an assortment of characters in the place, they include at least one private detective in John Ireland and he's after one of the people in the room. But more than one of them has a reason to fear the law.

So all that were in that small barroom set out to the desert fueled by another story that Jerome Courtland tells about coming across an old wagon wheel that would have been contemporary with that gold train. Quite an assortment go besides those in the cast I've already mentioned the guys include William Bishop, Arthur Kennedy, Joe White, Russell Collins and Charles Stevens. Bishop adds an additional plot component, not only is he a suspect, but he's wooing Ella Raines who used to go out with Scott. As for Scott he's concerned with a mare in foal and he brings her along as well. Later on Ella Raines declares herself in on the gold hunt.

Although with a lot more cast members out in the desert some people's true nature starts to surface. Quite a few of the cast meets their doom. As for the gold, just about the same ironical ending as in The Treasure Of The Sierra Madre.

In a book on the Films of Randolph Scott there's a story told about Ella Raines's husband Ransom Olds who was an air ace from the recent war and would be one again in Korea and Vietnam. It seems as though for a joke he buzzed the company on location. He thought it was funny, but the roaring jet passing over frightened all the horses and the wranglers spent the rest of the day rounding them up. Ella was not amused either, nor I'm sure was Harry Cohn.

Not as good as Lust For Gold or The Treasure Of The Sierra Madre, The Walking Hills still holds its own with the others and holds up well for today's audience. Greed is a timeless and universal theme.

Despite presence of cowboy vet Randy Scott, this is not really a western. Instead it's a modern adventure tale of gold fever. A bunch of disparate saloon characters goes hunting for buried treasure amid treacherous sand dunes of the Southwest. Each has his own reason for going and his own past, so naturally conflicts develop. And, oh yes, lovely Ella Raines shows up on horseback as relief from the ugly guys. Scott's the most level-headed of the bunch, but he's no paragon— is his willingness to abandon the wounded Johnny because of hard-headed realism or selfish greed.

It's an unusual collection of distinctive Hollywood players, including a shifty Kennedy, a nasty Ireland, a sneaky Collins, and, of course, a jovial Buchanan. Too bad the star-crossed William Bishop died too young to establish a screen persona. And how unexpected for blues singer Josh White to turn up as one of the fortune hunters. His musical interludes may seem artificially inserted but are pleasantly entertaining.

For me there are two highlights. The sandstorm, of course, is really well done-- on a set I would assume, but still a marvelously staged effect. The other is that battle of shovels atop a swirling dune, (move over Japanese martial arts). It's like nothing I've seen. Then too, the location staging in Death Valley may send you out for water, so bring a canteen.

Including flashbacks, the narrative itself is pretty crowded for a 78-minute runtime. So don't expect a tight format. Action and characters tend to be sketched through the proverbial glass darkly. Nonetheless, the movie's an unusual production that's remained oddly memorable since my first viewing, lo, so many years ago.

This is a really interesting picture. In almost all respects it represents a transition from 1940's film noir to 1950's new age angst - in buckskin and boots.

It stars a diverse group of slightly shady characters who accidentally meet up in a Mexican border town and stumble across a possible fortune out in the desert. The supporting cast is first rate with John Ireland, Edgar Buchanan (as the grizzled old prospector), William Bishop, and Arthur Kennedy. The lead is Randolph Scott with the luscious Ella Raines as the love interest. Too many people underestimate Randolph Scott. They describe his acting as robotic or wooden. His range as microscopic. I even have a brother who questions his sexual orientation. I think he is underrated. He represents, to me, an all American hero in the mold of John Wayne. Whether he's in fatigues or in the saddle, his steely eyed, square jawed performance always adds something to the production. Ella Raines likewise managed to create a smoldering, sexy presence in way too many second rate movies.

This is a contemporary Western (1949) with a clearly modern twist. Not just a falling out between thieves, but an intricate, complicated plot with lots of flashbacks and character development. Most of the principal players spend valuable time beating themselves up for mistakes they made. For a bunch of coyoots, they seem to be mighty introspective. Yet, it doesn't seem to detract from the overall tension built in to the story.

I won't go into the finale, but if you liked Treasure of the Sierra Madre and you're fascinated by the legend of The Lost Dutchman Mine, tune in. You won't be disappointed.

A very rewarding "lust for gold" adventure that tells its story in a brief 78 minutes and is all the better for it. Director John Sturges would later in his career allow some of his films to run overlong (THE GREAT ESCAPE) or blow up what should have been more simply told (GUNFIGHT AT THE OK CORRAL - the depicted gunfight itself is but one example), but earlier in his career made a number of lean, taut treasures, this is one of them.

A group of people are bound together in the search for some wagons believed to have been lost in the desert a century earlier, and the legend has it that gold was on them. When the youngest of them happens to mention something spotted in the desert, the need for secrecy binds the group together lest someone reveal the "golden opportunity." Several in the group have pasts that they are trying to hide and potential futures they are trying to escape if caught. One of them is a detective hot on a fugitive's trail, but willing to set aside duty for his share of the loot.

Randolph Scott headlines as the more or less moral center of the group, even if his intentions and actions seem to defy that description. For a slightly less than "A" feature, the film boasts an admirable cast of characters, among them Ella Raines, John Ireland, Arthur Kennedy, Edgar Buchanan (scene stealing as usual) and blues/folk revivalist singer Josh White whose musical contributions to the film capture a legendary performer for posterity. William Bishop, a young man whom Columbia was grooming for stardom (but who failed to click and would soon "descend" to mostly TV work) is the least familiar perhaps of the major actors, but he's impressive enough here for one to wish he had done better within the ten years that he had left before cancer took him at 41.

An interesting subplot has Scott's mare about to foal - a metaphor for new life or spiritual rebirth being created among the desert ruins. It gives nothing away to reveal that the fugitive surrenders or that some characters realize that gold fever can cause one to suspend principles - the latter is expected in such melodramas. But with its stunning black-and-white cinematography, especially in night scenes and the climatic desert storm, this film is as much of a treasure as that which its protagonists seek. Camera ace Charles Lawton must have impressed Scott and producer Harry Joe Brown as he would do five more films with the pair in the next decade. Highly recommended.