Jicop le proscrit

The Lonely Man is directed by Henry Levin and written by Harry Essex and Robert Smith. It stars Jack Palance, Anthony Perkins, Elaine Aiken, Neville Brand, Robert Middleton, Elisha Cook Jr. and Claude Akins. It's a VistaVision production with cinematography by Lionel Lindon, music scored by Van Cleave and the title track sung by Tennessee Ernie Ford.

Trying to leave his gun slinging days behind him, Jacob Wade (Palance) tries desperately to bond with his son Riley (Perkins) who blames him for his Mother's death.

From the outset as Tennessee Ernie Ford warbles a soft ballad over the opening credits, you know that we are in for a Western sorrowful in tone, and so it proves. I confess it's a film I hadn't really heard of before and kind of stumbled upon it by accident. It certainly seems to be under seen, while judging by the lack of written critique's for it, most probably forgotten by those who viewed it many years ago.

It's a film with problems, there is no getting away from that, but for the Western fan who has a bent for films like Shane, The Gunfighter and Unforgiven (and it is no way in the same league as these pictures) it has narrative rewards. There is very little action here, a couple of horse pursuits (though these are very well filmed and are exciting) and a short gunfight are about as thrilling as it gets, because this is very much a character study and smiles are very much in short supply. Story follows father and estranged son forming an uneasy alliance as Jacob tries to set Riley up for the future, truths will out along the way and Jacob's past is coming back to haunt him. There's a girl in the middle, naturally, and health will also come into play.

Filmed out of the Sierra Mountains, Lone Pine and the Mojave Desert, the back drops are excellent. Lionel Lindon's black and white photography is a real asset to the picture in how it captures the mournful mood of the story. While for the finale we move into noir territory as Levin and Lindon darken the skies and bring the atmospheric shadows, and this is something that perfectly cloaks what unfolds in the story. The support cast is like a whose who of Western character actors: Elisha Cook Jr., Neville Brand, Claude Akins, Lee Van Cleef, Denver Pyle, Harry Shannon and John Douchette, all of whom owe the Western fan nothing. But here lies one of the film's major problems…

With a dialogue heavy picture such as this, we reasonably expect good characterisations, unfortunately we just don't get that. Palance is basically required to just look tough and emote when faced with Perkins' whiny barbs. Oh they are good at being emotive and whiny respectively, but the screenplay just doesn't ask anything of them, with some interesting threads dangled but never expanded upon. Aiken is stock female fodder, and again she plays a character that just exists since the interesting possibilities are not explored. Then there's the number of characters played by those wonderful Western actors that just drift in and out of the film with no chance to impact on proceedings. Brand does get a neat role, and shows a good mean streak whilst introducing us to some cowardly bastard tactics, but he's still under written.

The lack of depth to plotting and complexity of principal characters is such a shame, as is the uneven direction of Levin. Yet I personally was very pleased to have seen this, it has some merits in the "moody redemption" splinter of Western films. A cautious and generous 7/10 from me.

Henry Levin did not direct many Westerns but he does well with this one, extracting credible performances from the main names, including Jack Palance, who keeps straining his eyes until we learn near the end that he is going blind; Anthony Perkins, fresh from his supporting Oscar nomination in FRIENDLY PERSUASION; Neville Brand as master villain, very good at planning the killing of unaccompanied targets; Lee Van Cleef as cold killer happy to do it well; and a truly superior performance from Robert Middleton, who simply steals the show.

Excellent B&W cinematography from Lionel Lindon. Gripping dialogue in script by Harry Essex and Bob Smith, though the ending could have been a little bit more light-hearted... like, for instance, an operation to Palance's cataracts...

Anyway, well worth a watch. 7/10.

With an on paper intriguing story and a cast that includes Jack Palance, Anthony Perkins, Lee Van Cleef and Elisha Cook Jnr. 'The Lonely Man' promised a lot. And it delivers a lot too luckily.

Have admittedly seen fairly little of director Henry Levin's body of work, but the little seen of him has left me somewhat indifferent. To me though, 'The Lonely Man' is among his better and more interesting films and is worthy of more attention than the not-very-well-known status it's garnered. Sure, it's not perfect and there are better westerns around but 'The Lonely Man' has a lot to recommend and has a few interest points (including Anthony Perkins in an early role pre-Norman Bates, him and Palance trying to out-smoulder each other and the Oedipal relationship between Riley and Ada).

The Oedipal relationship did feel underdeveloped and doesn't have anywhere near the passion and poignancy of the evolving father and son relationship between Jacob and Riley that dominates 'The Lonely Man'. Elaine Aiken does her best but is a little bland in a role that doesn't give her that much to do.

Occasionally, the general tightness of the pace loosens and becomes a little too leisurely and there are a few things in the story and supporting characters (King Fisher's allies also felt on the underwritten side) that could have done with more exploration and made sense more.

Conversely, 'The Lonely Man' does look great. The cinematography is truly beautiful on the eyes as well as being suitably moody, and the very natural and handsome locales are similarly well done. The music suits the atmosphere well, having a sweep and understatement. Levin's direction is efficient rather than the routine direction somewhat expected.

'The Lonely Man' is tautly written and sometimes has an offbeat tone, while the story is mostly very absorbing and there is a surprising amount of emotion. It is especially good in the father and son relationship, which has initial tension but once the truth comes out it's quite affecting and one roots for a redemptive resolution. The climax is one that had me biting the nails and had me feeling very sad about the outcome (see for yourself).

Perkins acquits himself pretty well in an early role, though he definitely went on to better things (including one of cinema's most iconic villains as Norman Bates in 'Psycho'), and Neville Brand is a formidable opponent with suitably heavyweight support from Van Cleef and Cook. The acting honours however belong to Palance, a powerhouse in a role that suits him to the ground and the type he should have done more of. It was really fascinating seeing he and Perkins out-smoulder each other but, while they work incredibly well, Perkins is no match for Palance in that department. Mainly because we're talking about an early career actor against one with one of the most intimidating physiques in "classic film/Golden Age film".

Overall, a well done and interesting different western that flaws and all should be better known. 7/10 Bethany Cox

This isn't the cowboys vs. indians or "saved by the Cavalry" formulaic western. There is characterization! Jack Palance delivers a great performance. He can act when the script and director allowed him. Tony Perkins seems to be the same character as he was in Tin Star. Great outdoor scenery; the studio should have paid the extra cost to film this in Technicolor.

This film has got merit not least the photography. It is beautifully shot and the location has much to admire. There is a touch of John Ford in parts. Its main strength is the performance by Jack Palance. Anthony Perkins is ok but he has not a lot to do. Small parts by familiar actors adds to the attractions of the film which is well worth a viewing. One of my childhood best loved films which I was not disappointed with when I watched it recently.