Le convoi maudit

This film has an excellent premise, a solid cast, beautiful scenery, and a fine (if brief) score. Yet the final product is only OK. I put the blame on directing and writing that isn't very compelling or incisive.

The same can be said of other MGM films from the late 1940's and early 1950's that I've seen. RKO, 20th Century-Fox, or Paramount would have made this film in a more exciting and engaging manner. For some reason, MGM films from around this time tended to pull their punches.

We all project ourselves into the books we read and films we see, so the more closer to our lives the entertainment vehicle is, the greater the experience and enjoyment. So I suppose this film would have just been another oater for me but for that one small detail.

The Outriders was a typical late '40s western movie, so the only reason I decided to watch it was that I like Joel McRea. Otherwise I might have passed on this 55 year old sage brush saga. But once it started, the female lead, Arlene Dahl, caught my eye.

Ms. Dahl could have been just another late 1940s blonde, blue eyed movie star in another late 1940s oater except for two things. first, she looked uncannily like my high school sweetheart (I know, everyone has an old high school sweetheart-go watch American Graffiti) but she really did look like her. And secondly, she spoke softly and moved, glided across the stage, just like *** did.

Then the story line somewhat mirrored the relationship we had. A tough and dangerous outlaw meets a sweet, honest and stunning beauty. I let myself slip into the fantasy of this movie figuring it would be a nice bit of nostalgic escapism. but then came the dance scene during the wagon train's stop on its overland journey.

Head honcho Will Owens (McRea) tells Jen Gort (Ms. Dahl) to stay in the wagon to avoid getting the trail hands stirred up, but when the men break out fiddles and guitars and start singing around the camp fire, she comes out, dressed to the nines with her dancing shoes. Jen glides effortlessly across the camera's view and dances with all the men, politely and dignified, yet strikingly alluring and all woman.

But what touched me was when she told Will Owens "you wanted me the most". No modern day tawdriness; nor erotic film scene with naked, sweating bodies could convey the message any clearer than her voice, her eyes and those words. It took me back.

This film may just be another fast paced western to most, but to me it is **** and me. I miss her.

Joel McCrea did another western with a similar premise to The Outriders for Warner Brothers in South of St. Louis. That was three partners in a cattle ranch who all went their separate ways as a result of the Civil War.

Here to the premise is three men who also go their separate ways as a result of the Civil War. Here the shared experience is prison camp. Joel McCrea, Barry Sullivan, and James Whitmore are Confederate prisoners who escape in early 1865. In effecting their escape they fall into the hands of a rebel guerrilla leader played by Jeff Corey.

Being guerrillas these guys don't play by the rules. The trio either goes west to Santa Fe to act as Judas goats and lead a gold train into ambush or die right there. Even the always honorable Joel McCrea sees he has no options here.

The rest of the story is how the conflicts internal and external are resolved and how the three escaped prisoners decide what course they have to take. Oh, and Joel McCrea meets up with Arlene Dahl and she kind of helps him along in the decision process.

The movies never had a more honorable or stalwart hero than Joel McCrea. And if you've seen any of his films, fans will know that whatever he does it will be the honorable thing. It's a tribute to McCrea that if he insisted on always being the stalwart hero, he had the talent and personality to carry it off.

It's familiar ground for Joel McCrea, but western fans will like the story and the gorgeous technicolor photography that captures it.

Joel McCrea was no more the romantic lead of "Colorado's territory" which was made the year before.At the beginning of the movie he is a bearded man and seems much older than the year before ."The outriders" is a routine western,but an entertaining one,with at least two very good scenes:Arlene Dahl's young brother-in-law ,on guard,afraid of everything,and seeing Indians everywhere ,this very short sequence packs a real wallop; and the scene of the river which almost compares favorably with that of Vidor's "northwest passage".Although the plot is much predictable -with gorgeous Dahl,it could not be any other way-,the plot retains suspense and the colors are fine.

The Outriders is directed by Roy Rowland and written by Irving Ravetch. It stars Joel McCrea, Arlene Dahl, Barry Sullivan, James Whitmore, Ramon Novarro, Jeff Corey and Claude Jarman. Music is by Andre Previn and cinematography by Charles Schoenbaum.

Plot sees McCrea as Will Owen, the alpha male of three Confederate prisoners who escape from Camp Benton Stockade and promptly get recruited by one of William Quantrill's Bushwhacker units. Assigned to infiltrate a Don Chaves (Novarro) run wagon train that's carrying a fortune in gold, the men must deal with Indians, each other, and the hazards that the journey throws up.

Out of MGM with some production value of note, The Outsiders rises above simplicity of story to unfurl a darn fine Oater. Narratively it has strengths, where Owen's moral conscience forms a spiky backdrop to plotting. Be it his views on the unsavoury tactics employed by Keeley's (Corey) Bushwhackers, and his place as the undercover leader leading the wagon train to doom, or the positioning of his feelings - and others around him - towards the female of the group (Dahl) and that of her teenage brother-in-law. Owen is definitely in emotional turmoil.

From an action stand point the pic doesn't short change, with Indian attacks, internal fisticuffs and a rousing chase followed by the big siege finale, all of which are delivered admirably and scored robustly by Previn. The stand-out, though, is a high energy section of film that sees the group trying to get over a river at high tide flood level and is running a current of death! These scenes are expertly constructed and are of the breath holding standard. Yet the greatest part of the piece finds the group indulging in a square dance evening, where the men are blowing away the cob-webs with hooch, while the delectable Dahl holds court right in the middle. The sexual tension is palpable, the atmosphere electric, and as it happens, it forms a key part of proceedings.

Tech credits are high as well, led by the the excellent capturing of the Utah locations by Schoenbaum, this is most pleasing on the eyes. Technicolor is perfect for such an airy Oater, the primary colours positively booming on the screen (check out the water and fire shots), while Dahl was made for such colour lenses. The aforementioned square dance sequences showcase her sexual beauty, with flaming red hair and glorious emerald green shoes acting as glorious crowns to a most appetising filling.

Yes the story is soft, and anyone jaded by the formula of many 1950s Westerns should probably avoid this one - with most almost certainly knowing how it's going to pan out anyway. But there's so much to like here for me to suggest it's an undervalued pic and worth seeking out. Especially for McCrea and Dahl fans. 7/10