Just some film musings of a more succinct, spontaneous and sometimes seditious nature:

Friday, February 24, 2023

There are two unmissable westerns playing back-to-back on TCM later today.

For some time now, it has been my contention that films noir are able to infiltrate other genres of cinematic storytelling. Instead of applying a whole host of traits typically associated with a style of filmmaking that emerged in the U.S. during the 1940s, I've identified two overriding features that most determine their qualification. 1. Some sort of criminal activity is present or is at least demonstrably considered and 2. There is a strong focus on the psychology of its principle participants. These attributes are not only abundantly evident in André de Toth’s exceptional western 1959’s Day of the Outlaw, they are both explored in the most rigorous, creative and masterful fashion imaginable.

One of any story’s greatest stratagems is to present what appears to be a virtueless character with a strong self-interest (actually several in this case) who, because of a set of sudden circumstances, becomes a hero. Robert Ryan is that character in Day of the Outlaw. He plays Blaise Starrett, enraged over a barbed wire fence erected on the open range and has a pronounced jealousy for the wife (played by the gorgeous Tina Louise) of the rancher who put it there. This is what we are led to believe the story will be about and typically would be for most westerns as the tension and arguments escalate toward what is sure to be one hell of an explosive showdown.

Just when you’re sure someone’s gonna get shot, enter Burl Ives’ Jack Bruhn: a discredited army captain along with his unit’s foul and cold-blooded degenerates on the run from the Calvary. Bruhn has taken charge as only Ives can and at his typical bellowing best, keeps his rabid dogs (men) on a pretty tight leash. He has, however, been gut-shot and is dying which means they’re going to be staying for a while in town. In the meantime, Bruhn has to balance his group’s demands for women and drink against the townsfolk’s aghast at just the thought of occupying the same room as these lowlife scum.

After a particularly terrifying and interminable “dance of disgust” involving Bruhn’s thugs and some local women, it is left to Starrett to come up with a plan to get this enemy of the people out of town and hopefully for good… but his ruse is uncertain at best and most likely suicidal.

The scenes that follow are mesmerising as Starrett leads this bunch of renegades out into the freezing cold, with the promise of a way through the mountains to escape the approaching Cavalry. The horses mightily trudge through snow so deep, at times it appears to fully engulf them… all captured by the cinematic artistry of cinematographer Russell Harlan.

Director André De Toth, along with Philip Yordan’s impeccable screenplay based on Lee E. Wells’ novel, has created a unique and resonant drama transcendent of its western roots that promises to linger in one’s memory long after its indelible conclusion. The setting is sure to have influenced Quentin Tarantino’s The Hateful Eight especially considering the famous director’s high regard for this film. The Day of the Outlaw is Friday, February 24 at 6:45 pm PST on TCM.

Immediately following Day of the Outlaw is Top Ten Westerns #1: the explosively confrontational The Wild Bunch. If by chance one hasn’t seen this landmark film, remedy that Friday, February 24 at 8:30 pm PST. For those who have, please see my review Opening Up a Treasure: The Wild Bunch as to why it was, and still is, one of America's finest contributions to the cinematic arts.

TCM's current monthly schedule can be confirmed by clicking on either of the above images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.

All responses are not only welcomed but encouraged in the comments section below.

Hope to see you tomorrow.

A.G.

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