The blog of a Western fan, for other Western fans

 
All good cowboys ride lonesome
 

 

With
Ride Lonesome, the excellent quartet of Budd Boetticher behind the camera, Randolph Scott in front of it, Harry Joe Brown wielding the checkbook/groaning and Burt Kennedy at the typewriter was back at work in the next of the series of
modest-budget Westerns they made in the 1950s. Indeed, you could regard all seven of the
movies as simply episodes of the same long film. Actually, more than a quartet it
was a quintet because the best of the series had Charles Lawton Jr at the camera, and this was one of them. Visually the picture is superb.

 


In
this film, Scott is once again a scarred, hard man out for revenge for a
murdered wife. Randy seems to have got through the wives at a rate of knots. This
time the innocent woman has been kidnapped by Lee Van Cleef and brutally hanged
from a cross-like hanging tree. But we only discover this towards the end and
maybe I shouldn’t have told you that yet (and translated film titles such as L’Albero
della Vendetta
did the movie no service).

Scott
is once more splendid. All the smiley happy-go-lucky side to his character
evident in the previous two (non-Kennedy) pictures has gone. He is no Buchanan, but a
hard-as-nails bounty hunter out for vengeance. “There are some things a man can’t ride around.”

There
has to be a charming and witty villain who grows closer to Scott as the picture
develops, that’s de rigueur in these
Westerns, and this time Pernell Roberts, who took the role of Adam in Bonanza
the same year, does the job, very well. He oozes sex-appeal (these movies
contained some quite daring sexual innuendo for the time) and is, like Lee
Marvin, Richard Boone, John Carroll and Craig Stevens in previous episodes, a
complex character, talkative to Scott’s stoic silence and moving from the bad
towards the good. Roberts’s sidekick is James Coburn, excellent in his first
big role, as a country bumpkin. The (added) scene where Roberts makes him a
partner is great.

 

James
Best (Tom Folliard in the previous year’s The Left-Handed Gun), is
terrific as Van Cleef’s nasty little brother who is taken back to Santa Cruz
for his second hanging. He did sneery punks better even than Skip Homeier.

Karen
Steele, still Boetticher’s companion at this time, is, however, totally out of place in her
1950s blonde hair and, it looks like, Jane Russell bra. She doesn’t act well
and, as was often the case with women in 50s Westerns, is just there as a sex
object to be weak, to need protecting and to be lusted after. Boetticher made the most of her curves outlined against the landscape.

 


This
movie is in CinemaScope for the first time and Boetticher uses the wide screen
and more panoramic possibilities to create a lot of ‘dead space’ in order to
make the characters even more ‘lonesome’. Martin Scorsese points out that the
‘loner’ has been a theme running through all great American fiction, from Moby
Dick
to Taxi Driver, and is an essential element of the Western
myth. It’s a great title because archetypal cowboys ‘ride lonesome‘.


Filmed up at Lone Pine, this is one of the more
visually attractive of the series.


For real Westernistas, I mean the hard-core sad cases like me, and maybe, dear reader, you, Robert Nott, in his excellent book The Films of Randolph Scott, writes:

Boetticher and Scott were … poking gentle barbs at John Wayne. There’s a reference to the town of Rio Bravo, … the Indians trailing Scott and company along the desert ridge ride in a similar formation to the warriors who pursued Wayne and his posse across the river in The Searchers, and Scott takes an arm-across-the-torso pose similar to the one Wayne took as he stood outside the doorway in the climactic shot in The Searchers. Scott even gets a Wayne line from that film: “That tears it” and delivers it in Wayne fashion!

I think that Mr. Nott may have watched too many Westerns but (a) so have I and (b) that’s impossible.
 
The
suspense builds. The plot unravels piece by piece. The characters learn from
each other. Then there is a stunning, climactic ending which makes Ride
Lonesome
, in the view of this writer, the best in what is anyway an
absolutely excellent series of Western movies.

Next and last in the series of Ranown Westerns was Comanche Station


3 Responses

  1. I think this may be the best Boetticher-Scott movie. The ending, with Scott looking up at the burning hanging tree is just a fantastic visual. As mentioned, the Roberts-Coburn interplay is wonderful, a nice touch to an otherwise grim movie.

  2. Jeff, you wrote in your '7 Men From Now,' post that you liked this one better. Having just watched both (7 Men for only my second time in 10 years, and Lonesome for the first time ever), I think I'm going to have to agree with you. Both excellent and similar in most respects, except with Ride Lonesome, I just got a good, satisfactory feeling when its ending credits rolled, that I don't often get with movies.

    I'm a bit of a ghoul that likes a high body count in my westerns, but the finale for Ride Lonesome felt just right. The bad guy gets what's coming to him, and any unnecessary bloodshed thankfully gets diverted. I was glad when Scott relaxed a bit on his character's strict code of honor. Justice prevails, and others get a second chance. What a damn fine western

  3. Not only one of the best Scott-Boetticher westerns, but one of the best westerns ever ! Splendid cast – with a special mention to Roberts -,filming and location, ongoing action pairing with the characters' evolution, sharp dialogue, the balance between comedy and tragedy… A film showing that filming in scope is not incompatible with tense psychology and an unforgettable finale, probably one of the best of the genre. 5 revolvers to me. JM

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