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Man-with-a-past Glyn McLyntock (James Stewart) guides a wagon declare of settlers to unique land in Oregon. They first battle man and mountains to near the land and later looming starvation when their well-known first year supplies are delayed and hijacked by men maddened with gold fever. All the while McLyntock is shrinking by his secret past: Can a awful man change? Perhaps more importantly, will others let you change?
Jimmy Stewart and Anthony Mann collaborated on some of the best westerns ever. In them they usually explored the inner demons the main character was wrestling with. Beyond vague references to McLyntock’s past (He’s THE Glyn McLyntock of the Missouri border wars, one character tells us, explaining it all) and hints that he was once the odd-man out during a lynching party, we’re spared the horrible details. McLyntock’s past is left unexplored, the point being that he has the capacity to be very dreadful, and is trying his best to inaugurate anew. I can’t consider of any other actor, then or now, edifying of convincingly playing a basically decent character who, when pressed, allows the devils to erupt.
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The same can, and can’t, be said for Arthur Kennedy’s Emerson Cole, another gun intelligent who, like McLyntock, has a capacity for goodness but seems a slight weaker when confronted with temptation. McLyntock and Cole are from the Kansas and Missouri site, “safe, trim country” factual center and settler leader Jeremy Baile (Jay C. Flippen) says, “’til man came in to pick and destroy. Can’t let it happen here.” Of course Baile doesn’t know anything about McLyntock’s past and trusts him completely, a trust McLyntock values enough to effect him that worthy more concerned about keeping his secrets secret.
A strong cast and epic makes BEND OF THE RIVER one of the best movies of the 1950s. As usual in a Mann western, the tale is played out against a heavenly, Technicolor background. In this case Mount Hood, Sandy River, and Timberline, all in Oregon. The myth is credible and, as usual, Stewart is estimable as the outlaw trying to reform. Strongly recommended.
The second of the illustrious star/director collaborations,and the first in color,”Bend Of The River” maintains the standard of “Winchester 73″.A tremendous selling point for Universal was the area shoot in Oregon(they went abet for the world premiere),but this being Universal,there are economies—camp sequences are shot on determined sound stages,including an extended episode in the first reel where Stewart and Arthur Kennedy are tracking Indians through a stream—it’s forgivable since this was S.O.P. in most “A” westerns of the period(even “The Searchers” has a number of phony “exteriors”) .The outdoor stuff is great—it must have bowled them over in 1952 when this sort of thing was less commonplace—only after the introduction of Cinemascope were the majors really forced to collect out on space as a matter of policy.Universal liked to give their youngsters a dinky on-the-job training with high-profile star vehicles,so top-liner Stewart’s got Julia Adams,Rock Hudson,and Lori Nelson along for the toddle.This was impartial before Hudson broke into leads—he earns the promotion here as a sensitive pro-gambler—intrestingly the Kennedy character,an unreconstructed ‘border raider’,tells him he’s “too soft”—for reasons more apparant to us today,it’s perfect casting for Rock.He’s even coy and tentative when Lori Nelson’s fairly hurling herself at him.This is the precursor of the character he would play in the Douglas Sirk pictures—gentle,non-threatening—it’s no wonder he scored so colossal with the femme viewers in his day.As for Stewart,his expansive nuerotic outburst comes leisurely in the game,but as always,it’s worth waiting for.Plenty of safe character people are there to attend him up—something audiences took so worthy for granted then.There are a few surprises—just when you figure Julia Adams for Stewart’s demure savor intrest,she beds down with Kennedy,cashing out the chips in his gambling hall—who ever said the 50’s were predictable? The boom-town scenes have a terse,snide edge—always proper for reveal viewings as long as you’re springing for the video.This one’s well worth having—as are all the westerns in the Stewart/Mann group.
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