'Shane' and 'High Noon' were Hollywood's first modern westerns. |
I
never watched 1953’s Shane all these
years because I thought it was just a typical Hollywood western. Well, George
Stevens’ Shane is “just a western”
about as much as his A Place in the Sun
is just a romance or Giant is just
another epic. Director Stevens gave depth to movie genres in his honest look at
the American way of life.
I
just saw Shane for the first time
during a snowy spring break in Upper Michigan. My Mom couldn’t believe I’d
never seen one of movie’s most famous westerns, so we watched Shane together. I was knocked out the
imaginative storytelling, memorable scenes, stellar cast, authentic location
shooting, and the realistic attitude about how the west was really won.
Joey:
Why don't you ever wear your six-shooter, Shane?
Shane:
Well, I guess I don't see as many bad men as you do.
Alan Ladd in his signature role as the reluctant gunslinger, Shane. |
The
simple story, but with complex storytelling, was inspired by the infamous
Johnson County War in 1892, when rich ranchers tried to run off homesteaders
with the help of guns for hire. Adapted from Jack Schaefer’s popular novel, Shane is a gunfighter trying to escape
his past. He comes upon the Starretts, a farming family who could use a hired
hand. Not only are there chores to be done, a domineering cattle rancher named Rufus
Ryker wants the Starretts and other homesteaders out of his way. Joe Starrett
staunchly believes that he and his fellow farmers have a right to their claims.
Starrett soon admires the strong, silent Shane, as does his wife Marian, and
son Joey. Shane goes out of his way not to be goaded into fighting, but as the
Ryker clan escalates their efforts to drive out the farmers, this inevitably leads
to the climatic gunfight.
The Starret family live up to their name, while Shane strikes a pose. |
Joe Starrett: Who is Ruf Ryker or
anyone else to run us away from our own homes? He only wants to grow his beef
and what we want to grow up is families, to grow 'em good and grow 'em, grow
'em up strong, the way they was meant to be grown. God didn't make all this
country just for one man like Ryker.
Methodical director George Stevens with his reams of film footage. |
The
myth that a financially fragile Paramount Pictures nearly shelved director
Stevens’ Shane is absurd. Even George Stevens, Jr. has repeated
this anecdote, but then, Hollywood loves these ironic anecdotes. According to
Ultimate Movie Rankings, Paramount Pictures had 8 of the top 20 grossing movies
of 1952, what with their comic goldmines Martin and Lewis, and the still
popular Hope and Crosby. Not to mention Paramount had the #1 blockbuster of
’52, The Greatest Show on Earth. Here
are Paramount’s top 20 domestic box office figures for ‘52: The Greatest Show on Earth, 32.9
million; Sailors Beware, 11.9; Jumping Jacks, 11.1; The Stooge, 9.7; Come Back Little Sheba, 9.7; Son
of Paleface, 9.4; Road to Bali,
8.3; and Just for You, 8.3. Adjusted
for today's dollars, this would total well over a billion dollars in grosses,
not including foreign grosses.
While
Shane was shooting in the fall of
‘51, the same studio released Stevens' A
Place in the Sun, a critical and commercial smash. While he was up to his
elbows in pruning the fruits of his four month Shane shoot in early 1952, George Stevens won his first best
director Oscar for Sun. It's highly
unlikely that Paramount would then shelve their golden boy's latest movie. Stevens
was famous for his long filming schedules, with footage shot from every
conceivable angle, which would then take him anywhere from one to two years to
edit. George Stevens Junior once said that his father’s movies were really made
in the editing room.
Another
hold up was when Paramount decided that Shane
would be their first widescreen film, though it was filmed in the standard
smaller screen ratio. Then they
decided to add Stereophonic sound to complement the big screen ratio. There was
no way they were going to sit on or dump Shane.
“Did you know Shane was shelved at
first?” makes a good Hollywood story. Just as how The Wizard of Oz and It’s a
Wonderful Life were supposedly flops when first released, these stories
take on a life of their own.
Alan Ladd's Shane has had just about enough of bad guy Ben Johnson! |
Ed Howells: This Wilson, would you
know him, Shane? If you saw him?
Shane: Maybe. If it is Wilson, he's
fast on the draw, so be careful.
Howells: You seem to know a lot
about this kind of business, Shane. I don't want no part of gunslinging.
Murder's a better name.
Shane
manages to be naturalistic and mythic at the same time—and this fits the
talents of Alan Ladd perfectly. I had never seen any Ladd films prior, except for
his last film, The Carpetbaggers. As
world weary cowboy star Nevada Smith, Alan Ladd was the best thing about the
shallow Hollywood soap opera.
As
Shane, Alan Ladd is low-key but
strong, never overacting or falling back on mannerisms. The Paramount star, in
his last film under contract, is totally natural and magnetic. Alan Ladd also
possessed a wonderfully resonant speaking voice, like other iconic actors of
the time: Gregory Peck, William Holden, Rock Hudson, etc.
Alan
Ladd was a contemporary of Tyrone Power, they were a year apart. While 20th
Century Fox treated Ty like a prince in comparison to Paramount and Ladd, Power
also felt insecure that he was regarded as just a pretty face. While neither
were Laurence Olivier, I think both Ladd and Power were underrated by critics
of the era. With Shane, you see what
Ladd could do, with great material and director.
Shane: Yeah, you've lived too long.
Your kind of days are over.
Ryker: My days! What about yours,
gunfighter?
Shane: The difference is I know it.
Shane, the gunslinger who tried to go straight. |
Much
has been made of the fact that Alan Ladd was short, especially opposite tall
leading ladies or villains. Well, you know what? A lot of actors were short
back then—and still are today! Back in Alan Ladd's era, three of the shortest male
stars had larger than life personas at Warner Brothers: Bogart, Cagney and
Edward G. Robinson. The difference was these guys were not your typical movie
stars, yet comfortable in their own skins. Later, Dustin Hoffman and Al Pacino
continued that tradition. Short action heroes Cruise and Stallone came later. When
Robert Redford broke through in the ‘70s, his height was actually the basis of
a magazine article! And Patrick Swayze, who plays sort of a bouncer version of
Shane in Roadhouse, takes a lot of
wisecracks for his short, slim appearance from the small town’s bad guys.
Ladd was
5'5", as if that made him less masculine. My Dad was also 5’5”—and he was not to be messed with. When I was in 7th
grade, an older boy walked up to me one lunch hour. He asked if Dick Gould was
my old man. I nodded yes.
The clean-cut kid smirked and said, “I’ve seen
him around. He’s just a sawed-off cowboy, isn’t he?”
My dad and his equally short brothers’
reputations were pretty well-known in my hometown, so I boldly replied, “The
next time you see him, why don’t you tell him that?”
The boy stared at me a moment, then walked away!
I guess that
generalization makes Ladd a sawed-off cowboy, too. Yet, with his almost
animal-like stare and stillness, Ladd’s totally believable as a bad ass in Shane.
Alan Ladd may have been slight in build, but still every inch the star! |
Joe Starrett (to rancher Ryker):
I'm not belittlin' what you and the others did. At the same time, you didn't
find this country. There were trappers here and Indian traders long before you
showed up and they tamed this country more than you did.
Ryker: They weren't ranchers.
Joe: You talk about rights. You
think you've got the right to say that nobody else has got any. Well, that
ain't the way the government looks at it.
Van Heflin, the perfect everyman, as the simple farmer who stands up to the cattlemen. |
Van
Heflin, that great star character actor, is likeable and believable as the decent
farmer family man. Heflin’s Starrett is ahead of his time as a movie male who
is secure with his wife’s crush on the hero. Jean Arthur was one of director
Stevens favorite actresses, so he chose her as the farmer’s wife, Marion.
Arthur is one of film's all-time delightful comediennes, who could also play
drama. However, Arthur’s uniquely squeaky voice, especially during the film’s
climatic moments, undercuts her credibility in trying to stop the impending
violence. Also, Arthur at 50 and Heflin, 43, are bit long in the tooth as
a pioneer couple with a small boy, and celebrating their 10th
wedding anniversary. As their son, Joey, movie fans seem to either love or
loathe Brandon De Wilde’s performance. I found De Wilde better than most child
actors of the era, though I think his Joey is used to telegraph the film’s
underlying story a bit too much.
Jean Arthur, as the farmer's wife, Marion, who hates violence and loves Shane. |
Marion: Guns aren't going to be my
boy's life.
Shane: A gun is a tool, Marion. No
better and no worse than any other tool—an axe, a shovel, or anything. A gun is
as good or as bad as the man using it. Remember that.
Marion: We'd all be much better off
if there wasn't a single gun left in this valley—including yours.
Jack Palance, the man whose mug launched a 1,000 nightmares, as Wilson, the gunslinger with an evil grin. |
Shane
has a stellar supporting cast. Jack Palance has a small but vivid role as the
ranchers' smiling gunslinger, Jack Wilson. A young Ben Johnson is intense as
Chris Calloway, one of Ryker’s ranch hands. This is a rare bad guy role for
Johnson—though Chris redeems himself near the film’s climax. Also, did you know
that Johnson was originally a rodeo cowboy and stunt man? Emile Meyer is
memorable as the firebrand ranch baron, fierce and pathetic at the same time. Elisha
Cook, Jr. was born to play Stonewall, the spooked would-be tough guy.
Shane
happens to feature some of TV’s future classic familiar faces, like Ellen Corby
(Grandma Walton!), Nancy Kulp (Jane Hathaway!), and Edgar Buchanan (Uncle
Joe!).
Alan Ladd and Van Heflin as the gunfighter and the homesteader in 'Shane.' |
The
extensive location shooting in Jackson Hole, Wyoming is superb, with the Grand
Tetons prominent in the background. Cinematographer Loyal Griggs couldn’t have
been thrilled to see his work shaved from the top and bottom to appear
widescreen. Perhaps the Oscar he won for Shane
helped ease the pain. Today, revivals and DVDs of Shane are rightfully shown in its original ratio.
Director
Stevens didn’t want the typical backlot/soundstage western look for Shane. Stevens had the characters’ homes
and makeshift town constructed on location and the characters looked more
sweaty than spiffy. That same realistic attitude is true with the film’s attitude
toward bar brawls and gun violence. People are left with bruises after fights
and lost lives leave bereaved family members bereft.
Shane: I gotta be goin' on.
Joey: Why, Shane?
Shane: A man has to be what he is,
Joey. You can't break the mold. I tried it and it didn't work for me.
Joey: We want you, Shane.
Shane: Joey, there's no living
with, with a killing. There's no going back from it. Right or wrong, it's a
brand, a brand that sticks. There's no going back. Now you run on home to your
mother and tell her, tell her everything's alright, and there aren't any more
guns in the valley.
Don't believe the bullshit stories that 'Shane' was shelved. This was director George Stevens' follow-up to 'A Place in the Sun.' |
George
Stevens, always a socially conscious movie maker, was changed by his time in
WWII. Stevens’ film unit captured the landing at Normandy, the liberation of Paris,
and freeing the Dachau concentration camp. Stevens didn’t come back to
Hollywood, just looking for a hit to put him back on top. George Stevens made several
war documentaries, some of which were used at the Nuremberg trials. And when he
did return to commercial filmmaking, George Stevens was more interested in what
was going on in the world than just recycling Hollywood clichés. Even when
working in the western genre, Stevens’ big fight scene were punctuated by huge close
ups and excruciatingly timed punches, so audiences felt beaten and weary by the
fight, too. The gunfight scenes were one of the first in film to use wires to
jerk the performers back, mimicking the impact of a gunshot. Stevens wanted to
show the effects of violence as well as the dilemma over the use of force.
George
Stevens was a masterful storyteller, using powerful imagery and truth in his
films. I knew of Shane’s famous
ending, but I was overwhelmed when I watched for the first time. The finale is truly
memorable, and Shane is still a
classic.
Shane says his goodbyes to Little Joey. |
Joey: Shane, you’re hurt!
Shane: I'm alright, Joey. You go
home to your mother and your father. And grow up to be strong and straight. And
Joey, take care of them, both of them.
Joey: Yes, Shane. [Tears well
up in Joey's eyes] He'd never have been able to shoot you - if you'd have
seen him.
Shane: Bye, little Joe.
Joey: He never even would have
cleared the holster, would he, Shane? [calls after him] Pa's got
things for you to do, and Mother wants you. I know she does. Shane! Shane!
Come back!
Shane! Shane! Come back! Better have a few tissues handy! |
Wonderful article, both appreciative and enlightening. Thank you !
ReplyDeleteThank you, I put a lot of work into this one! Rick
DeleteWell done. One of my favorite movies. Thank you for careful and enlightened consideration.
ReplyDeleteExcellent article on one of my all time favourite movies.
ReplyDeleteThank you, Andrea!
DeleteI saw it late in life and love it,
Rick
Thanks from another Andrea for this long post on my favorite western ever. I adore Alan Ladd, he was so underrated, so unfairly treated by most movie critics... I love his understated acting style, his expressive eyes, so perfect for "Shane". Living in Switzerland, I first saw the movie (together with my mom!) as a teen on German TV with German voices. Watched it again in German last summer and finally got the DVD to be able to hear the original voices (and the original text, they changed a lot, especially about Wilson mocking "Stonewall" Torrey – people responsible for the dubbing probably thought German speaking audiences wouldn't have enough background knowledge about the Civil War). Ladd's wonderful baritone, magnificent... although I must say I was almost shocked when I first heard Jean Arthur's squeaky voice – "there must be a wa-yyy, Sha-aaane??" Hmph... preferred the German dubbing there. But ONLY there. Such a great movie. Oh the Tetons... we have our Alps and our fair share of great scenery, but every time I watch and re-watch this masterpiece, I want to crawl into the TV set and run towards the Tetons – "the Call of the Faraway Hills", obviously – although the Tetons are mountains and not hills. Glorious music score by Victor Young. Wonderful, wonderful stuff.
ReplyDeleteThanks for your great comments, Andrea! I was most pleasantly surprised by this movie when I finally saw Shane. And yes, I think Alan was most underrated, too...
DeleteShane is my favorite movie and I was the same age as Joey when I first saw it. From my perspective that little guy is me.m
ReplyDelete