Wherever possible, I like to see the original version of a film before I see its remake. Set to attend a screening for James Mangold's '3:10 to Yuma (2007)' the following night, I quickly decided to rent Delmer Daves' 1957 original, which was adapted from a short story by Elmore Leonard. Unsurprisingly, given its source, the film's plot is extremely simple, unconcerned with the need for a large cast of characters and complicated story lines. After a fatal gold robbery, infamous outlaw Ben Wade (Glenn Ford) is captured in a small town, and a group of honest volunteers agree to transport him to Contention to board the 3:10 train to Yuma Prison. One of these volunteers is Dan Evans (Van Heflin), a poverty-stricken small-time rancher with a thirst to proves his worth to both his wife and two sons. Meanwhile, Wade's loyal gang ride in hot pursuit of their leader, intent on rescuing him and avenging his capture. As the tension mounts, and loading Wade onto the 3:10 train begins to seem impossible, the other volunteers rationally retreat from their task, with only Evans staying true to his word.
It's only recently that I've begun to concern myself with the Western genre, but '3:10 to Yuma' seems an ideal example. The story's brilliance lies in its own inherent simplicity; the interactions between the two main characters form the picture's emotional core, and it's the incredible depth of these interactions that allow the film to rise above its B-movie foundations. In one case, at least, the minimalism of the film's production allows for the perfect atmosphere in the story's climax, as Wade's bandits begin to surround the hotel room in which their leader is being held. Even before the gang rides into town, the streets have become almost completely vacant; Contention has become a ghost town. It seems likely that this was partly a result of the film's low production budget money spent on extras was probably considered money wasted but the escalating sense of foreboding created by the chillingly empty streets is perfect, as though, indeed, everybody in town figures that "a storm is blowin' up."
Both Glenn Ford and Van Heflin do a very good job considering the film's straightforward plot, and it is their believable characterisations that prove the picture's greatest asset. At first glance, Ben Wade appears obnoxious, sarcastic and detestable, but reveals more likable trait and even a streak of nobility as the film progresses. Likewise, Dan Evans is portrayed as a conservative man {whose logical unwillingness to take risks might easily be misattributed to cowardice}, one who only agrees to escort Wade in order to claim the much-needed $200 reward. However, as the situation continually progresses towards guaranteed disaster, and all the other volunteers back down regretfully, Evans refuses to surrender. In his captor's inflexible perseverance, and unflinching integrity, Wade discovers a man that he himself respects and admires, and the mutual understanding however tentative that the two men develop proves crucial in the picture's final moments.
It's only recently that I've begun to concern myself with the Western genre, but '3:10 to Yuma' seems an ideal example. The story's brilliance lies in its own inherent simplicity; the interactions between the two main characters form the picture's emotional core, and it's the incredible depth of these interactions that allow the film to rise above its B-movie foundations. In one case, at least, the minimalism of the film's production allows for the perfect atmosphere in the story's climax, as Wade's bandits begin to surround the hotel room in which their leader is being held. Even before the gang rides into town, the streets have become almost completely vacant; Contention has become a ghost town. It seems likely that this was partly a result of the film's low production budget money spent on extras was probably considered money wasted but the escalating sense of foreboding created by the chillingly empty streets is perfect, as though, indeed, everybody in town figures that "a storm is blowin' up."
Both Glenn Ford and Van Heflin do a very good job considering the film's straightforward plot, and it is their believable characterisations that prove the picture's greatest asset. At first glance, Ben Wade appears obnoxious, sarcastic and detestable, but reveals more likable trait and even a streak of nobility as the film progresses. Likewise, Dan Evans is portrayed as a conservative man {whose logical unwillingness to take risks might easily be misattributed to cowardice}, one who only agrees to escort Wade in order to claim the much-needed $200 reward. However, as the situation continually progresses towards guaranteed disaster, and all the other volunteers back down regretfully, Evans refuses to surrender. In his captor's inflexible perseverance, and unflinching integrity, Wade discovers a man that he himself respects and admires, and the mutual understanding however tentative that the two men develop proves crucial in the picture's final moments.