Across mountains, two cowboy-drifters with suspicious pasts try to get provisions to settlers in 19th century Oregon.
Despite the talent involved, the western's far from a classic. It's got plenty of action and loads of great scenery. But it's also got enough plot for five westerns. It's like the screenplay didn't want to exclude anything in the novel. So if you can follow the various threads and intrigues between the army of characters, there's a place for you at MIT. Then too, the editing doesn't help. Too often, developments are cut off before they can clarify (follow Trey's changes, if you can). The result is a series of clouded events, anchored only by McLyntock's moral steadfastness.
Of course, Stewart's grouchy good guy and Kennedy's slippery smile do a lot to compensate, and I can see why director Mann used them again and again. But speaking of noir-meister Mann, the shootouts here are poorly staged, a surprise for such an accomplished filmmaker. Catch how the bad guys ride in again and again, only to be mowed down by Stewart and crew. Yet no riderless horses leave, and surprisingly, about the same number of men ride away from the attack as rode in. I guess I expect better attention to important detail from such an expensive production.
I'm not trying to discredit the entire movie, only point out those facets I believe prevent it from reaching the caliber of other Stewart-Mann westerns. Certainly, a tighter script and better editing would have made a notable difference. Otherwise, it's got great scenery and good acting.
Despite the talent involved, the western's far from a classic. It's got plenty of action and loads of great scenery. But it's also got enough plot for five westerns. It's like the screenplay didn't want to exclude anything in the novel. So if you can follow the various threads and intrigues between the army of characters, there's a place for you at MIT. Then too, the editing doesn't help. Too often, developments are cut off before they can clarify (follow Trey's changes, if you can). The result is a series of clouded events, anchored only by McLyntock's moral steadfastness.
Of course, Stewart's grouchy good guy and Kennedy's slippery smile do a lot to compensate, and I can see why director Mann used them again and again. But speaking of noir-meister Mann, the shootouts here are poorly staged, a surprise for such an accomplished filmmaker. Catch how the bad guys ride in again and again, only to be mowed down by Stewart and crew. Yet no riderless horses leave, and surprisingly, about the same number of men ride away from the attack as rode in. I guess I expect better attention to important detail from such an expensive production.
I'm not trying to discredit the entire movie, only point out those facets I believe prevent it from reaching the caliber of other Stewart-Mann westerns. Certainly, a tighter script and better editing would have made a notable difference. Otherwise, it's got great scenery and good acting.