Bend of the River (1952)

bend_of_the_river_-_1952-_posterWhen you think of all the great western directors that worked at the height of the genre’s success — the 1950s through the 1960s — plenty of names comes up, directors like John Ford, Sergio Leone, Sam Peckinpah, Howard Hawks, Budd Boetticher to name just a few.  And then there’s Anthony Mann, who rarely gets the credit he deserves for an impressive filmography. He’s often known for his films with star James Stewart, (8 pairings, 5 of them westerns)like 1952’s Bend of the River.

It’s 1866 and a wagon train is heading west to Oregon. Scouting for the wagon train is Glyn McClintock (Stewart), a former border raider who’s looking to go clean and put his checkered past behind him. The families traveling aren’t aware of Glyn’s past though. To them, he’s just a more than capable scout and gunman. Along the trail, Glyn rescues Emerson Cole (Arthur Kennedy) from a lynching, Glyn not sure if he saved a guilty or an innocent man. Cole decides to tag along, help Glyn and the wagon train make it to Oregon. More and more challenges await though, from Indians and bandits to problems from within. Can Cole go straight? Can Glyn escape his past?

Like any of the western director/star pairings listed above, the Mann-Stewart westerns have a rhythm, a formula they stick with through thick and thin. I’ll get into that formula more in-depth later, but the gist of it is simple. Released in the 1950s, these movies still have that traditional western feel of the 1940s/1930s while starting to tackle more adult/realistic issues that became prevalent throughout the 1950s. Throw in some beautiful filming locations, solid score and deep casts, and you’ve got a winning formula.

A staple of the Mann westerns was Stewart’s flawed, often tragic anti-heroes. His Glyn McClintock certainly qualifies. Stewart played tortured like few others. These aren’t super-heroic gunslingers who can do no wrong. He’s genuinely trying to go straight, to prove he’s a good man. Oh, and he may have to prove that with the lovely Laura (Julie Adams), the daughter of one of the farmers (Jay C. Flippen) on the wagon train. So if Glyn is trying to go straight, what about Cole? Kennedy is a scene-stealer as the ruthless gunfighter who you’re not always sure of his intentions….but you really are. There is little doubt where this is going, but in the meantime, Stewart and Kennedy are excellent in starring roles.

Another frequent Mann collaborator and a rising star in his own right, Rock Hudson has a fun supporting part as Trey Wilson, a young gambler who finds himself working on the trail with Glyn and Cole. In the wasted villain department, Howard Petrie plays Hendricks, the owner of an Oregon town with his hand in everything that will make him some money. Chubby Johnson and Stepin Fetchit are misused in a politically incorrect subplot about a river boat captain and his assistant. Also look for Harry Morgan, Jack Lambert and Royal Dano as troublesome drifters, and Francis Bavier (later Aunt Bea on The Andy Griffith Show) in a small part.

‘Bend’ was filmed on-location in Oregon — including Sandy River, Mount Hood and Timberline — and looks stunningly beautiful. The mountainous backgrounds are provide quite the different look for the story as Glyn, Cole and the wagon train navigate through all the snow-capped mountains. It isn’t the quickest moving story, but it’s never slow. Some good action along the way, and a more than capable cast to lead the way. Not the best Mann-Stewart pairing, but an above average western that’s definitely worth a watch.

Bend of the River (1952): ***/****

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The Man from the Alamo (1953)

poster_of_the_movie_the_man_from_the_alamoOne of the legends of the battle of the Alamo is that late in the siege, Colonel Travis drew a line in the sand, asking the men who were willing to stay and fight to cross over the line. Supposedly, only one man chose not to, a Napoleonic veteran named Louis Rose. Did it really happen? Probably not, but it remains an enduring story almost 200 years later. The premise is certainly interesting though, and here it is, delivered with a twist, 1953’s The Man from the Alamo.

With the Mexican army surrounding the fort, the defenders of the Alamo desperately wait for reinforcements. Word has reached the defenders that raiding parties are attacking settlers and homesteads, including one area well-represented in the Alamo. A group of defenders draw straws to see who will leave the potentially doomed mission to look after the families. The one chosen? John Stroud (Glenn Ford), a tough, hard-working farmer who’s never run from a fight before but now he must. Stroud rides out of the Alamo only to find that he’s too late when he gets home. Farms and homes alike have been burned by raiding parties, but not Mexican soldiers. Instead, it is a gang of Americans who have sided with the Mexicans in hopes of acquiring land. With a stigma attached to his name, Stroud goes about exacting his revenge.

Ever since watching Disney’s Davy Crockett episodes as a kid, I’ve been hooked on the Alamo. This film effort was one that took awhile to track down, but it was worth the wait. It’s on my Alamo rotation I watched every year during the siege — Feb. 23 through March 6 — as it unfolds.

‘Man’ is an interesting entry, mostly because it uses the Alamo as a jumping off point and not an end result. The opening 15 minutes or so depict the siege, a high-walled, claustrophobic fort under heavy bombardment. We meet Crockett, Travis and Bowie briefly as we learn that time is running out on the defenders. Certain death awaits. What the opening lacks in historical accuracy, it makes up for in tension and a no-holds barred feeling. It gives you a real sense of what it must have been like to be part of the siege from the Texan perspective. A very cool intro that sets the stage nicely for the rest of the movie.

Once John leaves the Alamo, we return to a pretty standard B-western. We’ve got six-shooters and cowboys who look more appropriate for the 1870’s than 1830’s, but it’s fun. Director Budd Boetticher was still a relative unknown as he would pair up with star Randolph Scott in the coming years for his most memorable movies. ‘Man’ is solid though. It clocks in at just 79 minutes and is always on the move. Some good action, an interesting, unique story and entertaining throughout. The potential of the story — a man leaves the Alamo, mostly against his will — certainly could have been more involved, more in-depth to explore the character, but what’s here is entertaining, streamlined fun.

Glenn Ford has always been an actor I welcome when I see him in a cast listing, but one I’ve never thought of as one of my favorites either. A good actor, but he doesn’t have many classic or close classics to his name. He does what he can here as supposedly cowardly John Stroud, but the story never lets him slow down and breathe. Stroud finds out what happened to his wife and son but never gets a chance to show any frustration. He’s just immediately on the road to revenge! Not a flashy part, but a good one.

Also look for Julie Adams, Hugh O’Brian, Chill Wills (he’d star in John Wayne’s The Alamo 7 years later), Victor Jory as the villain, and Neville Brand as one of his henchmen. Marc Cavell has a solid supporting part as Carlos, a young Mexican boy who worked with his father on the Stroud farm. Even keep an eye out for Dennis Weaver as one of the Alamo defenders.

Nothing too flashy here, but a western I’ve enjoyed with repeated viewings. Especially noteworthy for its Alamo opening, ‘Man’ also features some pretty cool stunts in the finale as a gang of murderers chases across the prairie after eight wagons full of women, children, and a big old safe of gold. Worth a watch if you can track a copy down.

The Man from the Alamo (1953): ***/****