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Fun
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Audie Murphy was very modest about his 33 Westerns (34 if you count his Whispering Smith on TV) but actually he was good in them, and got better and better, and a few of them were really well produced and directed as well.
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No cheap programmer
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Ride Clear of Diablo is tightly paced and well acted. It’s a revenge tale as Audie arrives in Santiago after being informed by his father’s lawyer Meredith (William Pullen, six feature oaters and various TV shows) of his pappy’s death, murdered at the hands of rustlers. Being Audie, it’s not revenge he’s after in the sense of gunning the killers down in Main Street, still less bushwhacking them – perish the thought – it’s more arresting them and bringing them to trial. Naturally, the lawyer wearing a suit and all, he’s in on the rustling gang. He works with a crooked Sheriff Kenyon (were there any honest lawmen in Westerns? Yes, a few) Paul Birch, Mike Malone from Cannonball. This isn’t a spoiler, pards, because we are shown this crookedness in the first reel. The corrupt-sheriff role was crying out for Ray Teal and indeed Mr Birch enters a Ray Teal Lookalike Contest – but comes second.
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Sheriff Paul Birch trying to be Ray Teal
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So there we have the set up for a pretty standard plot, but well done. The girls? Oh yes, of course. They are the sheriff’s pretty niece Laurie (Susan Cabot yet again; she was getting to be an Audie steady) and Abbe Lane as the sexy saloon singer. Being Audie, you may guess which one he finally marries.
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Lovely in that 50s way
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So, what’s good or special about this film? Well, first we have a classic Dan Duryea as the laughing bandit Whitey. As doubtless you know, Duryea specialized in laughing and would give any passing hyena a good run for his money. Think of Along Came Jones, for example, which he cackled his way through with Gary Cooper in 1945 or his Waco Johnny Dean in Winchester ’73 with James Stewart in 1950 where he chuckled himself hoarse.
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Don’t overact, Dan!
Overact, moi?
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There were those who accused Mr Duryea of overacting. Dan, overact? But you can’t help liking him and that laugh is a bit infectious. At one point you can see serious Audie on the set crease up a bit despite himself while Whitey is guffawing. Or maybe he was smiling wryly at having his scene stolen.
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Duryea reprising his Waco Johnny Dean role
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And then we have two stalwarts in minor roles, Denver Pyle as the clergyman (ha ha ha but he must have liked the idea because he put a dog collar on again in Shenandoah in 1965) and Jack Elam, properly cast as one of the evil murderous rustlers. This time Jack gets to survive and be nasty right up until the last reel.
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Rev Denver advises
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George Zuckerman and DD Beauchamp the Great did the screenplay and the movie was helmed by Perry Mason director Jesse Hibbs who the following year was to direct Audie in his autobiographical To Hell and Back. This was Hibbs’s first Western in the director’s chair. He had been assistant director on oaters to Anthony Mann, George Sherman and Kurt Neumann, so had evidently learned something. And indeed, the gallopin’, fist-fightin’ and shootin’ is well handled and well paced.
A lot was shot in the studio but there are also some nice Lone Pine locations photographed by Irving Glassberg. This wasn’t a cheapo programmer, far from it, though of course Universal expenditure on Westerns was hardly eye-watering. The pictures were ‘mid-budget’. There’s a classy Glassberg shot, a traveling pan (is it called?) as Audie and the reverend walk down from the cemetery hill discussing the morality of revenge.
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Gauche, naïf but steely
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Murphy was so baby-faced and innocent looking that all the characters, especially the bad ones, think he won’t last a minute in a saloon gunfight but Audie has a certain steely look in his eyes and is quicker on the draw that anyone supposes (unusually so, one would have thought, for a railroad engineer) and keeps on coming back from impossible missions alive. The naïvety is heightened by the fact that we know in the opening sequence of the film who shot his daddy but poor Audie doesn’t catch on right till the end. The relationship between him and the Dan Duryea character is actually rather well done and develops subtly.
Ride Clear of Diablo is a highly enjoyable Western. You should give it a go.
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Blam!
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7 Responses
I stumble upon it – I am a great fan of DD thanks to or in spite of his world famous way of laughing…- and went reading your review afterwards and I could not agree more, of course the action but also the dialogue and the way the DD-Audie couple works ! And again the confirmation of your theory on the blond guys being the better bad guys – DD who for once is showing , Ringer and the sherif My only critic would be on the actor playing Meredith, pretty stiff in my opinion. He should have been blond too but he is only bland… JM
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Thoroughly enjoyed watching this yesterday and I agree with you about its merits – one of the best Murphy westerns I’ve seen and I’ve seen more than I can possibly remember. Encapsulates the pleasures of minor 50s Westerns for those who like minor 50s Westerns. i.e. lots of formula elements which are comforting pleasures for those of us who like the formula, but enough that’s characterful and distinctive to make it stand out. In this case 90% of the distinctiveness is down to Duryea, he’s just great in this – not despite but partly because of the unmistakeable taste of salty ham in his performance – and the interplay with Murphy is very engaging. Murphy’s good too, the script and direction are brisk and peppy, and Elam and Pyle are welcome bonuses. What’s not to like?!
I agree! Dan rarely held back but that’s half the fun.
Not a western, but in the noir Hugo Fregonese first Hollywood film (1950) One Way Street (with several familiar faces such as Jack Elam, William Conrad, King Donovan, Basil Ruysdael, Rodolfo Acosta, Kenneth Tobey…), Dan is almost surprising in his sobriety.
Parallel can be draw with Robert Newton?
I screened this picture today during an ‘All Day Audie’ event on a cable channel. My goodness, I’m baffled as to its absence from one of Kino-Lorber’s blu-ray sets. I would appreciate the upgrade; the broadcast print was of sketchy quality during some scenes. Not so sketchy, though, to prevent me from relishing Dan Duryea’s richly enjoyable Easter dinner of a performance. That scene in the cantina..! DD’s second Audie outing, ‘6 Black Horses’, was also part of the Audie-athon and I look forward to watching it.
I have Abbe Lane’s RCA recordings from the 50’s so her performances, both singing and acting, were a pleasant surprise. But not nearly as much of a surprise as seeing Russell Johnson, years before his gig as the Professor on Gilligan’s Island, as both the town drunk and a bit of a villain. The familiar faces are one of my favorite aspects of 50’s westerns.