Wonderful western and superb discovery. The film contains its share of phoned-in scenes (the relationship between Barbara Stanwyck and Ray Milland) and predictable scenes, but everything flows naturally. The film also contains interesting historical elements (the birth of California), a magnificent Technicolor and a set of secondary characters more developed than the average: Barry Fitzgerald as a philosopher who quotes the Bible and common sense, George Coulouris as a feverish character and a touching lover, Anthony Quinn in a very short but substantial role.
As for the character of Ray Milland, he is not the standard western hero. He is often beaten (kicked). He is a victim of events and is not the driving force of the story. But his character works, thanks to his past and thanks to Barry Fitzgerald!
The film shows very well the mediocrity of the prudish through the way they treat the independent and ambitious Barbara Stanwyck. Barbra Stanwyck is luminous and her relationship with Ray Milland throughout the film remains interesting from beginning to end, even if it is very phoned in and even at the limit of the ridiculous. But finally it works and when it ends the spectator is only more satisfied.
The film is free of any sentimentality. This makes it an amazing film that progresses quickly, densely, and in 97 minutes. The film has very rich and above average dialogues that serve both immediately in the scene, but also carry a very interesting subtext.
John Farrow obviously loves sequence shots: the film is full of them. They generally serve the situation and the plot very well by bringing a certain tension while being fluid or natural.
As for the character of Ray Milland, he is not the standard western hero. He is often beaten (kicked). He is a victim of events and is not the driving force of the story. But his character works, thanks to his past and thanks to Barry Fitzgerald!
The film shows very well the mediocrity of the prudish through the way they treat the independent and ambitious Barbara Stanwyck. Barbra Stanwyck is luminous and her relationship with Ray Milland throughout the film remains interesting from beginning to end, even if it is very phoned in and even at the limit of the ridiculous. But finally it works and when it ends the spectator is only more satisfied.
The film is free of any sentimentality. This makes it an amazing film that progresses quickly, densely, and in 97 minutes. The film has very rich and above average dialogues that serve both immediately in the scene, but also carry a very interesting subtext.
John Farrow obviously loves sequence shots: the film is full of them. They generally serve the situation and the plot very well by bringing a certain tension while being fluid or natural.