Cagney’s last ride
Cagney was far from a Western specialist, and indeed wasn’t very good in them. He had only done two, the pretty ropey The Oklahoma Kid back in 1939 (when, at 40 he was already a bit anno domini for Kid parts) and, the year before Tribute, Paramount’s Run for Cover, which was uninspired at best despite direction by Nicholas Ray. In Tribute Cagney did his best to be Tracy, all domineering and all, but his diminutive stature and machine-gun Eastern diction didn’t help. Still, it was the best Western Cagney did. And he was good when beating up Stephen McNally. “I fight dirty,” he says, and he proceeds to use mostly his elbows, to great effect.
Cagney does his tough rancher act
There were other casting changes. Irene Papas, in her Hollywood debut, replaced Grace Kelly – which was a good thing. Kelly would have been all glacial and blonde, whereas Papas managed to bring to the part of the sultry Jocasta a feisty Katy Jurado vibe. And second billed Don Dubbins, 28 but playing a boy, replaced Robert Francis (tragically killed in a plane crash days after the start of shooting) in the juvenile lead and first-person voiceover. Dubbins was a Cagney protégé who would appear in two big pictures with Jimmy that year, this one, which came out in March, and These Wilder Years, released in August. New Yorker Dubbins is OK (he plays an Eastern greenhorn so he could get away with it) and his narration provides a slight Vengeance Valley feel to the movie, no bad thing obviously.
Youth is captivated by glam ex-saloon gal
The good news is that some excellent Western character actors were recruited to be ranch hands: Chubby Johnson as Baldy, Royal Dano as Abe and a rail-thin Lee Van Cleef as Fats. Always a pleasure to see them. McNally plays another ranch hand, McNulty. McNally, McNulty, tomarto tomayto. He woos the fair Jocasta and is fired for his pains, then joining forces with the rustlers. McNally, you will know, was James Stewart’s ne’er-do-well brother in Winchester ’73 in 1950 and went on to lead in three Universal Westerns, so he had some Western pedigree.
It was done in bright EastmanColor and CinemaScope, and DP Robert Surtees, one of the greats, did a wonderful job on the Colorado locations. The vast majority was shot outside, in stunning scenery, and there were only two short MGM back-projection close-up shots (which disfigured so many of their Westerns). It was very well done, and there was clearly plenty of budget available. I love the work of the Surteeses, père et fils, and visually Tribute to a Bad Man is the equal of both Escape from Fort Bravo (Robert) or even possibly Pale Rider (Bruce). It is said that Surtees delayed the grim hanging scene four days, waiting to get just the ominous lighting he wanted. And it worked.
The story opens in 1875 with young Steve Miller, a naïve grocer’s clerk from Pennsylvania, riding west from Laramie, coming across rancher Jeremy Rodock defending himself from rustlers, and the young man digs a bullet out of Rodock’s back, earning his gratitude and a job. Rodock is one of those ranchers who rules the whole valley – in fact the only name the place bears is ‘Mr Jeremy Rodock’s Valley’. Steve soon discovers that his new employer is as hard as nails and has a very short way with horse rustlers. The sensitive youth is affrighted but gradually hardens.
Colorado standing in (beautifully) for Wyoming
There is a definite The Virginian tone to the whole picture – the Wyoming setting and even the young character’s name, Steve, attest to that. The hanging of the rustler they catch is suitably grim, and the same arguments are put forward – that there is no formal law enforcement anywhere around and the law of the rope is the only effective way to maintain order.
“We’re livin’ in the middle of nowhere. Two hundred miles from any kind of law and order. Except for what I built myself. Ever since I started – and this you don’t know – I’ve been badgered, skunked, bitten out and bushwhacked by thieves from everywhere. And now, one of my men’s been killed. I find my horses, I find the killer. If I find the killer, I hang him. I gotta keep my own reckoning, Jo. It’s the way I built my life and half the transportation of the West.”
Of course in The Virginian it is Steve who is hanged. Here, it is the young Steve who is offended by the lynching rather than the sweetheart, but back at the ranch Jocasta too is revolted by the deed. Indeed, she plans to leave.
Virginian-style lynching
Questions are also raised of the difference between punishment, revenge and even torture.
One of the rustlers, Barjac, is James Griffith, so that’s good. I always thought he was excellent in Westerns.
There’s a good attempt to describe the realities of the cowboy’s life. “Never a chance for a family, or a home. In ten years, you’re gonna’ be like them – a nobody on a horse. That’s what a wrangler is, a nobody on a horse. With bad teeth, broken bones, double hernia, and lice.” This is source writer Jack Schaefer coming through, and the theme prefigures Monte Walsh (published 1963). The screenplay was written up from Schaefer’s short story by Michael Blankfort, who had contributed to Broken Arrow.
There’s a slight Jubal feel to the picture, especially concerning the jealousy of the rancher towards possible lovers of his beautiful companion (Columbia’s Jubal came out the month after), though director Robert Wise, famous for the likes of West Side Story and The Sound of Music, did not have the Western track (or trail) record of Jubal’s director. Wise was actually very talented (as the wonderful Blood on the Moon showed) and it’s a pity he didn’t do more Westerns, but he despised the genre generally. Poor fool.
Rodock’s conversion to decency and gentleness is not entirely plausible and the ending is slightly cloying. Still, all in all, Tribute to a Bad Man is a perfectly acceptable Western, Cagney’s best by quite a long way and an honest contributor to the psychological/family/coming-of-age/ranch genre.
Rides off into the sunset
10 Responses
Its my pleasure to hear about him. He was legendary in the Cinema. I haven't watch these classic movies. But really looks so cool and photographs are so amazing. I love to watch online movie and last I had 7 magnificent these photographs are looks like pictures of 7 magnificent.
Deepak – there aren't many film lovers with a bad word to say about James Cagney but as Jeff says he wasn't at his best in westerns. To watch Cagney at his best try 'Angels With Dirty Faces' 'The Roaring Twenties' 'Each Dawn I Die' 'Yankee Doodle Dandy' and 'The Strawberry Blonde'. About 50 years ago there was a James Cagney season on Saturday evenings on BBC TV and I have been a fan ever since. Anonymous Paul
And don’t forget WHITE HEAT( It’s “top of the world”)!
Of Course! Plus ‘The Public Enemy’ with a certain grapefruit.
You're right back in my neck of the western movie's woods with this excellent review, Jeff. Totally agree with what you say here.
I think Cagney was really good in this, especially considering the western was not his natural genre.
Jeff, good review. I probably like TRIBUTE TO A BADMAN a little better and that is because of James Cagney. The source material comes from the great Western writer Jack Schaefer's "Hangings for the Lucky" from ARGOSY(November, 1952) magazine. The photography by Robert Surtees is amazing. I first saw this movie on the old CBS LATE MOVIE in 1974 and I liked then and I still do.
I also think that Robert Wise's TWO FLAGS WEST(1950) is a really good movie, right next to BLOOD ON THE MOON(1948).
Deepak, I would like to add James Cagney's performances in THE PUBLIC ENEMY(1931), WHITE HEAT(1949) and LOVE ME OR LEAVE ME(1955).
Yes, I was probably unfair to Wise, certainly on Two Flags West, which I too think is very good.
Jeff
And when you think of the quality of Wise's work it's a pity he did so few Westerns.
Jeff
This is a very interesting Western with a complex but lucid plot, a very strong performance from Jimmy Cagney, and praiseworthy support from Irene Papas, Don Dubbins and Stephen McNally, who bears a rather strong resemblance to Martin Landau, one of my favorite actors. Oh, it’s also got Lee van Cleef, which is unfailingly a tremendous boost to any Western.
TtaBM is certainly one of the most romantic Westerns I’ve seen. Statuesque ci-devant saloon girl Jokasta (Papas) is living with wealthy, hard-bitten horseman Rodock who is also a sawed off cuss approximately a quarter century older than her. It looks like the classic case of a gold-digging woman who uses her beauty to ensnare a man who means little to her beyond a life of opulence. And some of the younger hands–McNulty (McNally) and Miller (Dubbins)–sense this. Like sharks to a lacerated tuna, they home in on Jokasta, hoping to rip her away from the older man.
Papas does an excellent job of portraying ambivalence about Rodock. On the one had she is truly grateful for what he’s done for her and does have genuine affection for him, although she is also rather repulsed by his violent ways, which include hanging any horse thief who dares trespass on his ranch. On the other, she doesn’t seem to be physically attracted to him. Will Jokasta remain loyal to Rodock, or will she abandon him for a younger man? This is the crux of the plot.
Ancillary to the central theme is Rodock’s character. He’s clearly a very rough cob, which is the reason for the adjective “bad” in the film’s title. But is he truly bad? In the largely lawless Old West powerful men, or groups of them, became laws unto themselves out of necessity. And, with genuine threats to life, limb and livelihood constantly on the prowl, they could either be harsh or they could be dead.
Furthermore, McNulty, who eventually reveals himself to be a considerably worse man than Rodock, maims the mares in Rodock’s remuda as part of a scheme to claim their foals as his own. It is truly a vile act justifying the most severe of punishments.
Rodock, after apprehending McNulty and his two henchmen, starts down this path–quite literally–only to relent under the conscience-pricking admonitions of Miller (Dubbins). In a gout of sticky compassion, Rodock spares the men who mutilated his horses. Is this kinder, gentler Rodock more admirable than the Old Testament Rodock? In my opinion, no. Other viewers may disagree. Regardless, this film does a great job of portraying moral quandary as well as the character of its leading figure.
TtaBM is aesthetically beautiful. The cinematography and color are grand and rich. Music–both Miklos Rosza’s score–and various folk tunes played on the piano and some sort of rude flute, add to the picture’s attractiveness.
The entire package is most satisfying, and for this reason, every true devotee of the Western genre should watch this film.
I am taking the opportunity thanks to
Eckwood Spivey to say a few words about Stephen McNally.
Jeff never wrote a specific homage as he did for many other secondary actors.
Understandable when you read what he said in his films comments :
“I’m not a great McNally fan, I fear. He was nicely despicable in Winchester ’73 [as the James Stewart’s evil brother], to be fair, but he never really convinced in the genre, being more suited to hard-boiled crime movies and the like…”
Or
McNally had been a Universal contract player and was, notably, James Stewart’s villainous brother Dutch Henry Brown in Winchester ’73 in 1950. The studio had tried him out as Western lead in three pictures, Wyoming Mail (1950), Apache Drums (1951) and the very similar The Stand at Apache River (1953), but it didn’t really take and it was back to smaller roles. By the mid-50s he was appearing for various studios and in fact Hell’s Crossroads was his last lead in a feature Western.
Or
– He’s actually not bad in Wyoming Mail, quite convincing as the tough guy
– He wasn’t too bad, he was basically found wanting, and he was relegated to support roles, often as bad guy
– I think he was better as the heavy.”
If I can agree on his last point, McNally had nevertheless a strong, if not stellar, western résumé having been directed by Mann, Wise, Farrow, Siegel, Douglas, Sherman, Fregonese, Arnold.
Rarely a leading man, but physically imposing, he was mostly at his best and even impressive when playing a villain in Noirs and Westerns (in which he is rarely on the right side if the law).
But he is not of the same lignage of the Boone, Duryea or Marvin indeed…
Born Horace McNally (1911-1994) in New York, he dropped a law career for acting, his childhood dream.
After several stage appearances in New York City, he moved to Los Angeles in 1942 to sign his first contract with MGM, no less, cast in a Laurel & Hardy for one of his first roles. Then in the famous Thirty Seconds Over Tokyo (Delmer Daves).
He changed his stage name in 1948.
His Hollywood occupations did not prevent him from having eight children…
His westerns (All available by the Index):
1950 Winchester 73, Anthony Mann with you know who…
1950 Wyoming Mail, Reginald Le Borg.
With Alexis Smith.
1951 Apache Drums, Hugo Fregonese.
With Coleen Gray, James Griffith.
1952 The Duel at Silver Creek, Don Siegel.
With Audie Murphy, Faith Domergue, Lee Marvin.
1953 Devil’s Canyon, Alfred L. Werker.
With Virginia Mayo, Dale Robertson
1953 The Stand at Apache River, Lee Sholem. With Julia Adams, Hugh Marlowe, Hugh O’Brian.
1954 A Bullet is waiting, John Farrow.
With Jean Simmons and Rory Calhoun.
1955 Tribute to a bad man, Robert Wise.
With James Cagney, Irene Papas.
1955 The Man from Bitter Ridge, Jack Arnold. With Lex Barker, Mara Corday, John Dehner.
1957 Hell’s Crossroads, Franklin Adreon.
With Peggie Castle, Robert Vaughn.
1958 The Fiend who walked the West, Gordon Douglas.
With Hugh O’Brian, Robert Evans, Linda Cristal.
1960 Hell Bent for leather, George Sherman. With Audie Murphy, Felicia Farr.
1965 Requiem for a gunfighter, Spencer Gordon Bennet.
With Rod Cameron
1977 Mission to Glory: A True Story* (Father Kino Story, Padre on Horseback), Ken Kennedy.
With Richard Egan and an all-star cast…
The musical The Harvey Girls (1946, George Sidney) can hardly be considered a western.
But I will tend to add Violent Saturday (1955, Richard Fleischer), a splendid Noir, having all the ingredients of a modern western.
As most of his colleagues, he can be spotted in various TV shows episodes such as Wagon Train, Dick Powell’s Zane Grey Theatre, The Texan, Rawhide, Laramie, The Virginian, Gunsmoke.