This Western, directed by Edward Dmytryk and adapted by Robert Alan Arthur from a novel by the Western writer Oakley Hall, had been rather forgotten but has now been restored by Twentieth Century Fox. It’s a familiar story set-up found in several 1950s and 1960s Westerns – an isolated town is terrorised by a local rancher and his group of cowboys/’gunslingers’. The Deputy Sheriff is rarely in a position to resist the mayhem and the nearest lawman with real power is 50 miles away. At the end of their tether, the leading figures of the town decide to pay a significant salary in order to attract a notorious ‘enforcer’ who arrives with a business partner, a saloon owner. Henry Fonda, playing against type (well before Once Upon a Time in the West) is the enforcer with the ‘gold-handled colts’ and the snappy suits and a grey-haired Anthony Quinn is the saloon owner (with a limp). Later on a third new arrival, who clearly has history with the other two, arrives on the stagecoach in the form of Dorothy Malone – and the film gets a lot more interesting.
I did feel that this was a fairly pedestrian Western in some ways, but the casting is interesting and the script and dialogue are intelligent. There is something different about the Fonda-Quinn-Malone triangle. Equally, the ranks of the cowboys include Richard Widmark in an interesting role that plays with his good/bad star persona. Here he switches sides in the confrontation and becomes almost saint-like. More surprising still is DeForrest Kelley, aka ‘Bones’ in Star Trek as the most interesting of the cowboys. I didn’t know about his long TV career and many film roles in Westerns.
The film is unsurprisingly in CinemaScope, which is fine, but I thought that the DeLuxe Color had a rather yellow palette. I’m not sure if this was intentional or whether it was not a priority in the restoration. Overall, I didn’t think Dmytryk made the most of the location of the story in Utah. The extreme long shot in the opening looked like a model until the tiny figures moved. But clearly the film is about the characters. It’s a narrative in which characters actually seem to change in order to deliver the conventional resolution and along the way there is a hint that Quinn’s devotion to Fonda’s cause might be be based on more than just old times’ sake. In his paper on ‘Social class and the Western as male melodrama’ in the Movie Book of the Western, David Lusted includes an analysis of Warlock. He places it as a ‘township Western’ and discusses it in terms of the split between romance and melodrama, bracketing it with similar films of the period which he describes as ” . . . clearly melodramas, disturbed and disturbing, at times hysterical in their character relations and fevered in their crises of male identity”.
Lusted identifies the ‘romance of the hero’ in the way that Widmark becomes decisive and eventually wins the day and the separate but related narrative in which Fonda makes a decision to finally reject his capitalist enterprise of ‘legalised crime’ (i.e. effectively extorting a high salary from the town via his gunfighting prowess) for the more acceptable bourgeois world embodied in a woman with capital in a mining operation. Quinn comes between these two and ignites the melodrama. Indeed Fonda’s ultimate response to Quinn’s action is almost operatic in its excess. I’m less convinced by Lusted’s class analysis, though I very much support his intent in trying to explore ways in which these 1950s Hollywood Westerns appealed to male British working-class audiences. Lusted sees both Fonda and Widmark as working-class characters (both are cowboys/gunfighters) who make attempts to operate as individuals in the new social structures offered by towns like Warlock. The image of Widmark above is misleading – he is in ‘Sunday best’ for a a meeting with Dorothy Malone – and most of the time he is in cowboy denim. My feeling is that David Lusted’s analysis fails to deal with the star personae of the leading players. Widmark is perhaps a little too old to be rebel cowboy who puts himself in danger (his younger brother in the film, who stays with the cowboys, is played by an actor 20 years younger). I know Fonda played the great working-class hero in The Grapes of Wrath (1940) but I can’t see the Fonda of 1959 as a working-class figure, or more pertinently, I can’t imagine him as having once been a working-class figure. This doesn’t mean I don’t value David Lusted’s analysis and his discussion of the ways in which interior and exterior locations are used for the ‘romance’ and melodrama scenes is very useful.
The main interest in the film is probably the homoerotic charge in the relationship between Quinn and Fonda and the balancing charge of revenge directed towards the pair by Dorothy Malone. This is a good 1950s Western and I love melodrama but I’m still glad that Peckinpah and Leone appeared in the early 1960s to shake up the Western genre.
On the audience angles of the film, I noted that although there were many grey heads at the Vue in Islington, there were a number of younger men and women – so perhaps the male melodrama will get some support in future.
Reference: Lusted, David (1996) ‘Social class and the Western as male melodrama’ in the Movie Book of the Western, eds Ian Cameron & Douglas Pye, London: Studio Vista