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.

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.

The Outriders fulfills its genre with minimal expense but maximal outcome. Only a few brief frames appear spectacular, and many of the pleasures are among the overlooked qualities of the mid-20c Western: laconic dialog, complex plotting, psychological challenges, friendships and honor tested. The budget and production values are always restrained, but the strength of the studio system shows in excellent lighting and color plus a number of realistic outdoor scenes blending finely with studio effects. Other reviewers noted the convincing mattes of Santa Fe, but I felt almost intoxicated by the deep blue sky-backdrop to the camping scene that turns from a comic riot to a dance of love.

The other virtue of the studio system is the stable of professional actors who perform their roles not to steal scenes but in service of the plot. Joel McCrea may excel even Randolph Scott in saying the most with the least words while never ever lying--the Western-hero actors of their generation internalized completely the cowboy as a latter-day knight, and the alchemy of script and star is fascinating. Arlene Dahl may be even more economical with her speech than McCrea. In the central dance scene she speaks not a word until a critical moment, then agrees to dance with McCrea only if he bows to put fresh shoes on her feet. The scene is all about sex, but the actors, the script, the direction, and the genre completely control the sexuality's expression.

In the supporting ranks James Whitmore, not yet 30, is convincing as an old-coot warrior-sidekick with kidney trouble, while Ramon Navarro--a former sex symbol entering his 50s--plays a Mexican padrone who's still got chops. Barry Sullivan and Jeff Corey remain menacing even when they're acting cooperative. Claude Jarman, Jr. is always worth watching but the director or editor seemed to forget he was in the movie.

I couldn't stop watching, but the less-enthusiastic reviewers have a point. The film fulfills its genre so professionally that it never falls below a certain level. But those same qualities make its most beautiful moments somewhat understated, like something even better might once have been imagined but for now they need to finish a movie.

MGM Western movie with glimmer Technicolor cinematography , impressive landscapes and including romance of the daring pioneers of the West . This is a good Western , plenty of action , shootouts , thrills and fist-play . It's a thrilling western with breathtaking confrontation between the protagonist , his enemies and savage Indians Pawnies . Late in the American Civil War, from an Union prison called Camp Benton, our handsome hero, a Confederate Sergeant called Will Owen (Joel McCrea) is imprisoned at a hard Northern jail , he is a highly respected Southern official . But he escapes along with Jesse Wallace (Barry Sullivan) and Clint Priest (James Withmore) . Soon fall into the hands of pro-Confederate raiders, followers to leaders Bushwhackers as Quantrell and Anderson , such as as Keeley (Jeff Corey) and Bye (Ted De Corsia) , two roguish confederate rebels , both of whom have a war task for them who force them to act as "outriders" or escorts for a civilian wagon train that will be secretly transporting Union gold among the personal possessions in the caravan of Don Antonio Chaves (Ramon Novarro) from Santa Fe, New Mexico, to St. Louis, Missouri . They are eventually able to convince Don Antonio to be his escorts or outriders . The three men are to lead the wagons into a raider trap in Missouri, but one of them begins to have misfortunes and misgivings . As they guard the caravan from marauding Indians and other dangers along the way . Meantime , Will Owen falls in love a beautiful woman named Jen Gort (Arlene Dahl) , a recent war widow, who is accompanied by her teenaged brother-in-law Roy Gort (Claude Jarman Jr.) .

This Western is a superior outing because it displays thrills , emotion , shoot'em up , brawls , intrigue , riding pursuits and many other things . There is filled with action in the movie , guaranteeing some shots or stunts every few minutes . Interesing and moving screenplay by Irving Ravetch based on his own story . Here filmmaker Roy Rowland delivers a nice film , however he could be counted on to deliver solid "B" pictures which, at MGM, were often better than most other studios' "A" pictures . Brief character studio about three escorts or outriders , Joel McCrea/Barry Sullivan/James Withmore they became friends despite their differing personalities , until the inevitable final conflict . The highlights of the movie are the spectacular as well as violent getaway from Benton Missouri Camp and the sensitive dance between Arlene Dahl and the sex-hungry soldiers . Very good support cast such as James Whitmore , Ramon Novarro , Jeff Corey , Alex Montoya , Ted De Corsia and a young Claude Jarman Jr of Rio Grande and The yearling . Colorful as well as evocative cinematography by Charles Edgar Schoenbaum supported by expert cameraman Henry Jaffa . Adequate and atmospheric production design by Cedric Gibbons , MGM's usual , though also contains abundant matte paintings . Rousing and breathtaking musical score by Andre Previn who married Mia Farrow

The motion picture lavishly produced by Richard Goldstone and MGM studios was well directed by Roy Rowland . He sharpened his directing chops at MGM with a series of shorts starting in the 1930s, then moved up to features in 1943 . Roy spent quite a bit of time at the studio, from 1943-51 and again from 1954-58 ; he had the good fortune to marry the niece of Louis B. Mayer and was the father of actor Steve Rowland . While not one of the studio's top-rank directors , he was a good professional who had a considerable success . Most were B-movies, but he occasionally handled such A-graders . His greatest hit was , of course , the fantasy movie titled The 5000 fingers of Dr T (1953) . Rowland made an action picture for independent release based on a Mickey Spillane "Mike Hammer" novel starring Spillane himself (Girl hunters (1963)) . He specialized in a variety of genres, including musicals : ¡Viva Las Vegas! (1956) The seven hills of Rome (57) , Two weeks with love (50) and dramas : Our wines have tender grapes 45 with Edward G Robinson (1945). He was also responsible for the tough, fast-paced Rogue Cop (1954), one of the few MGM films that could be considered "film noir". Roy was a Western expert , as the last film he made at MGM was a "B" western with Stewart Granger, Gun Glory (1957); besides , he filmed Bugles in the afternoon with Ray Milland and Many rivers to cross with Robert Taylor ; after which and then he traveled to Europe for a string of Spanish/Italian-made westerns such as Los Pistoleros De Casa Grande and Ley Del Forastero . His final film as director was a somewhat cheesy pirate movie (he was uncredited ; his Italian co-director Sergio Bergonzelli got sole credit) called El Tigre De Los 7 Mares and its sequel : Tormenta Sobre el Pacífico (1966). He was associate producer on Nathan Juran's Italian-shot Al Infierno, gringo (1969), after which he retired.

Turner Classic Movies rebroadcast "The Outriders" on May 21, 2005, with some improvements. TCM added closed captions and also seems to have transferred the film to a high definition master, so that the Technicolor looks very smooth. The lack of film grain has a down side during some scenes when print damage is apparent, such as the scratches on the film negative that show up in a few scenes, scratches that are more jarring due to how good most of the print looks. This Western stands head and shoulders over most Westerns released in the past 20 years. Just look at the supporting actors: James Whitmore, Barry Sullivan, Ramon Novarro and, of course, Jeff Corey as the very reasonable, psychopathic Southern raider Keeley. In 1950, MGM still had the production staff and budgets to make its movies look great. The matte effects by Arnold Gillespie at the start, showing old Santa Fe, are as well done as any today. During action scenes, MGM did not skimp on stunt extras. There is one scene near the start, as Joel McCrea and the three other riders with him are riding on top of a ridge, the sun setting behind them. Even if the director lifted the look of the scene from a similar scene in the black and white Winchester '73, this Technicolor scene, only a few seconds long, must have been tough to get right. That attention to quality is consistent throughout this movie. "The Outriders" is an example of what the old Hollywood studios did best: turning out technically well made, interesting movies by the dozens each year. In my minority view, newer popular Westerns such as "Silverado" and "The Unforgiven" don't hold a candle to "The Outriders."