Blog Directory CineVerse: A film that doesn't exactly follow the herd

A film that doesn't exactly follow the herd

Thursday, November 17, 2016

Howard Hawks' "Red River" is a memorable flick for multiple reasons, not the least of which is its colorful characterizations, sharp themes, tense familial dynamics, and awe-inspiring size and scope (the filmmakers really did have to manage about 1,500 head of cattle in addition to the large human cast). Many film scholars point to this picture as a turning point in the development of the American western movie – one that marks a diversion away from the simple white hat versus black hat struggle for survival and supremacy in the old West. CineVerse came to these conclusions after watching the rare prerelease version last evening:

HOW IS THIS MOVIE DIFFERENT FROM OR SIMILAR TO OTHER WESTERNS?
It’s shot and set almost entirely outdoors, filmed primarily in Arizona. Yes, there are some rear projection shots used and scenes that were filmed on the studio lot, but unlike many other Hollywood westerns, this one had to be shot outdoors to depict the cattle drive.
Speaking of, Hawks and his crew really are responsible for moving 1500 head of cattle in this production; it’s yet another example of how epic this film is in scope, theme, look and feel.
A woman solves the main conflict between males by the end of the film. That’s a rarity.
There are many familiar western tropes and conventions here, including character caricatures, like Walter Brennan’s cook and the sharpshooter Cherry.
This is an especially long movie – with over a two hour run time in its theatrical version and a few minutes longer in its prerelease version. For 1948, most movies still came in around 90 to 110 minutes.
It features, in the prerelease version, text narration that we only see quick glimpses of, as if to say that action is more important than words.
It’s exceedingly well cast: this is the role by Wayne that impressed John Ford enough to continue using The Duke in future productions. Wayne plays a psychologically complex character whose stubbornness and tunnel vision create palpable tension. Montgomery Clift, by contrast, employs the Method style of acting and uses characterization subtleties to evoke an a quiet, brooding intelligence and bravery that other actors may not have been able to achieve. Hawks’ stock company also fills out the supporting roles dutifully, including a great Walter Brennan.
There are suggestions of homoerotic undertones peppered in this picture – as evidenced by dialogue between Matt and Cherry like, “That’s a good-looking gun you’ve got there,” “Want to see mine?” and “I’ve taken a liking to that gun of his.”
The love interest in this movie, as embodied by Tess, doesn’t appear until the 95 minute mark – quite late into the picture for a romantic subplot.
The ending is abrupt and unexpected – almost anticlimactic. In fact, there are two expected showdowns hinted at that don’t amount to much: the showdown between Matt and Cherry, and the showdown between Matt and Dunson.

HOW DO YOU FEEL ABOUT THE DÉNOUEMENT OF THIS MOVIE? DOES THE ENDING FEEL CONTRIVED AND TACKED ON OR DO YOU LIKE THE WAY THE FILM CONCLUDES, WITHOUT THE FATHER ATTEMPTING TO GET EVEN WITH HIS SON?
It’s worth noting that the movie’s conclusion differs from that of the original story written by Borden Chase, which ends on a darker note.
On one hand, you can consider it fresh and original that Hawks chooses to have the female lead intercede and prevent bloodshed between Dunson and Matt by employing a comic shaming of those two characters.
On the other hand, critics some critics argue that this undercuts a main theme of the film – betrayal and revenge – by having everything wrapped up neatly and peacefully simply based on the words of a strong female character.
Film scholar Glenn Erickson wrote: “It’s as if Lucille Ball intervened between Ahab and Moby Dick, arguing that their big deal feud doesn’t amount to a hill of blubber in this crazy world.”

WHAT THEMES ARE AT WORK IN RED RIVER?
Betrayal and revenge.
Rivalry: between father and son, between Matthew and Cherry, and between Dunson and other landowners/peers.
The ties that bind: in this case, familial ties and bonds prove stronger than hate and resentment.
Fathers versus sons and the conflict that ensues between familial generations. Roger Ebert suggested: “The theme of Red River is from classical tragedy – the need of the son to slay the father, literally or symbolically, in order to clear the way for his own ascendancy.”
Ebert also suggested a second major theme: “The father’s desire to gain immortality through a child.”
How skill and professionalism can overcome obstacles and prove priceless. This is a theme often explored by Hawks: “The cult of professional skill is something to hang onto any world that might otherwise prove meaningless,” as posited by Criterion Collection essayist Geoffrey O’Brien.
The danger of tunnel vision and obstinacy. Consider that Dunson’s instincts are almost always wrong or appear wrong: his insistence on his wife staying behind results in her being slaughtered; his steadfastness in driving the herd all the way to Missouri would appear to be a fool’s errand destined for failure; and his decision to overwork his crew and punish them via draconian measures leads to desertions and mutiny.

OTHER FILMS AND WORKS OF LITERATURE THAT COME TO MIND AFTER WATCHING RED RIVER
Mutiny on the Bounty
Come and Get It, a 1936 film directed by Hawks
Moby Dick
Only Angels Have Wings and Rio Bravo, two other Hawks films where strong female characters interrupt a powerful male universe

OTHER FILMS DIRECTED BY HOWARD HAWKS:
Scarface
Bringing Up Baby
Only Angels Have Wings
His Girl Friday
Sergeant York
To Have and Have Not
The Big Sleep
Gentlemen Prefer Blinds
Rio Bravo

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