Heaven with a Gun + Santee
Glenn Ford
It's said
that Glenn Ford could draw in 0.4 seconds, faster than John Wayne or James
Arness. Relaxed, vigorous and versatile,
he could have been one of the greatest western stars in history, but somehow he
never reached superstar status. As a promising young actor he made a couple of
memorable appearances - alongside that other relaxed and handsome young man
William Holden - in westerns such as Texas (1941, George Marshall) and The Man
from Colorado (1948, Henry Levin). The fifties were very much his golden era; in
the first half of the decade he became a household name with appearances in
movies like The Big Heat and Blackboard Jungle, and in 1957 he made the movie
that seemed to catapult him to the eternal hall of fame of western stars: 3.10
to Yuma.
Some think
his career was blighted by his appearance in the prestigious flop Cimarron (1960,
Anthony Mann); there might be some truth in it, but history itself seemed to
work against him: the mid-sixties weren't exactly a golden period for the
American western; it all happened on the other side of the globe, in Europe,
where Sergio, Clint and Ennio were redefining the western idiom. When Hollywood finally
went back to form, Ford was past his prime; the future belonged to a new
generation of charismatic actors and the great character parts went to others. Between
1967 and 1973 he appeared in six westerns; in most of them he was appropriately
cast as an aging gunman, still quick on the draw, but struggling with his
history of violence. Two representative westerns of this period, are the
tongue-in-cheek Heaven with a Gun (1969) and the more serious Santee (1973).
Heaven with
a Gun (1969, Lee H. Katzin)
In the
opening scene, Ford buries an Indian who was killed by two cowpokes in a
conflict over water rights between sheep herders and cattlemen. The powerful
ranch owner Asa Beck (John Anderson) thinks Ford is hired by the sheepmen,
but in reality Ford is a reformed gunslinger turned preacher who has registered
a mental vow to put an end to the hostilities. He's a man of peace, but one who
reasserts his message with a six shooter and a few strong one-liners:
"There will be no killing around this
church, unless I do the killing."
It has been
noticed that for a movie with a peaceful message, Heaven with a Gun is quite
violent and sadistic. It opens with a lynching scene and some fifteen minutes into
the movie, we get a pretty nasty torture scene with shears, in which one of the
sheep herders (caught by Beck's men while trespassing the range) is treated as if he were a sheep himself.
There's also a rape scene involving a young Barbary Hershey, who plays the
halfbreed daughter of the Indian buried by Ford in the opening scene. She
thinks she now 'belongs' to Ford - the man who was good to her father - but Ford
feels he's too old for her. The person who rapes her, is by Beck's son (played
by David Carradine), the person who
killed her father.
The natyness is somehow mitigated by tongue-in-cheek humor and an offbeat finale
with Ford and the townsfolk (women included) organizing a march to the water hole
used by both groups, in order to prevent a massacre, but the humor isn't always
subtle, occasionally even tasteless (the saloon lady dressing the innocent
Indian girl up like a prostitute) and some may get the idea that the movie is
robbed from a shootout ending by this march for peace. Heaven with a Gun is
not a misfire, it has an excellent cast (apart from those already mentioned,
there's a great performance by J. D. Cannon as a hired gun), but it's uneven
and it's also quite hard to take anything of it seriously.
Dir: Lee H.
Katzin - Cast: Glenn Ford (Jim Killian), Carolyn Jones (Madge), Barbara Hershey
(Lelupa), John Anderson (Asa Beck), David Carradine (Coke Beck), J.D. Cannon
(Mace)
Santee
(1973, Gary Nelson)
Santee, on
the other hand, is often called one of the more interesting westerns of Ford's
later period. It's a violent melodrama, telling the story about a man called
Santee, a horse breeder turned bounty hunter, who adopts a boy called Jory, the
son of an outlaw he was forced to shoot before the young man's very eyes. Feeling
responsible for the inexperienced boy, Santee invites him to stay on his ranch,
even though the young man has sworn to avenge his father. Jory is told, by
Ford's Indian ranch hand, that the relentless bounty hunter is in fact a
tormented man, whose son was killed by a gang of marauding outlaws. Soon Jory
and Santee grow towards each other, but then rumors are spread that the outlaws
who have killed Santee's son, are back in the region. Once again Santee must
take up his guns to protect his family, and once again he will fail ...
The film is
a sort of three act drama. The first part, with Ford in hot pursuit of a small
group of outlaws, is atmospheric and strong; it's also helped by a strong
performance by Robert J. Wilke as the outlaw father (Wilke is one of those
supporting actors who can bring a subplot to live). The problem is that the
movie has trouble to live up to the expectations created in these first thirty
minutes. The mid-section, set on Santee's Arrow ranch (one of the three arrows
symbolically missing), is concerned with the growing relationship between the
boy and the foster father, but the central problem - can they overcome their
differences and forget the past? - isn't handled with enough care - it all
feels a little too smooth. The film returns to the violent antics of the first
thirty minutes in the final act, but with a couple of actions scenes that are
less convincing than the initial chase sequence.
Director
Gary Nelson had mainly worked for TV and was probably chosen because he had
been assistent-director (uncredited) to John Ford on The Searchers and had
directed several episodes of the TV series Have gun, Will Travel. His direction
seems competent in most scenes but is marred a by his over-reliance on graphic
violence; his movie is strongly influenced by the excessive bloodletting that
had pervaded the genre in recent years; the final shootout, set in a brothel,
with horses entering the building while the men shoot it out, looks quite
chaotic. Don Randi's score is a mixed bag too: it occasionally works - notably
during the chase sequence - but more often it's overbearing. On the plus side
we have good performances. Ford is excellent as the tormented man and it's a
true pleasure to see Jay Silverheels - Tonto himself - as Santee's ranch hand
John Crow.
Santee was
also one of the first motion pictures to be shot electronically on videotape
and then transferred to film. It was shot with Philips Norelco video cameras
and Ampex 2 videotape recorders, both powered via batteries while shooting on
location.
Dir: Gary Nelson
- Cast: Glenn Ford (Santee), Michael Burns (Jody), Dana Wynter (Valerie), Jays
Silverheels (John Crow), Harry Townes (Sheriff), Robert J. Wilke (Deake)
I guess I was one of the few that actually liked Cimarron.
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