Fat Tuesday Special: The Tall T (1957) (Western Wednesdays)

     The Tall T was released on April 2nd, 1957. Directed by Budd Boetticher and written by Burt Kennedy it is the first film (or second if you count Seven Men From Now) in the Ranown cycle, named for producer Harry Joe Brown and star Randolph Scott. Here Scott plays Pat Brennan, a former ramrod who is trying to start his own place. On the stage into town Pat and the passengers are waylaid by a group of outlaws, led by Richard Boone's Frank Usher, who decide to hold Doretta Mims (Maureen O'Sullivan) for ransom when they discover that she is the daughter of a wealthy copper miner.

     As in their first collaboration, Seven Men From Now, Boetticher and Kennedy use the genre to explore masculinity in The Tall T. Usher despises the company of his two reprobate companions, the naive Billy Jack (Skip Homeier) and the sadistic, unhinged Chink (Henry Silva). He looks up to Brennan (not unlike Lee Marvin's character from Seven Men), who he envies for his independence and respects for his honor. Usher fancies himself an honorable thief, someone who might have been good friends with Pat under different circumstances, but Brennan sees through him. A man who wouldn't hesitate to kill innocent people just to make a quick buck is fooling himself if he thinks that there is but a slim difference between him and the rancher.

     In many ways, men in Boetticher films are defined by the way they treat women. Pat is the only character to treat Mrs. Mims with care and respect. He recognizes that her new husband Willard (John Hubbard) is coward who only married her for her money, but does not tell her in order to spare her feelings. Usher is disgusted by Willard, who informs him about her fathers fortune in order to save his own skin. Usher also expresses disdain toward Doretta, remarking how "plain" she looks, Billy and Chink share this sentiment. Nonetheless, Frank expresses a desire to be married himself,
telling Brennan, "Ain't right for a man to be alone."

     Of course Pat and Doretta eventually fall for each other (after her husband is killed and his cowardly betrayal revealed) in a scene that is slightly uncomfortable when viewed today. Brennan tells her "Sometimes you got to walk up and take what you want." and then rather forcefully kisses her. To be fair, the implication is that both characters are giving in to their feelings for each other, but the way it's presented is a little "rapey", for lack of a better word. Nonetheless, Doretta Mims is actually a fully realized character, despite spending much of the film in helpless self pity. She is able, with some encouragement from Brennan, to pull herself together and help him take down the gang. When he tells her to run away during the climax, she refuses, preferring to stay and help him.

     Boetticher directs with his usual sense of clarity and austerity. The cinematography by Charles Lawton, Jr. wonderfully captures the starkness of Lone Pine California, a location which perfectly fits the bleak story. This is an unusually violent and sexually explicit film for 1950's Hollywood. There's a decent amount of blood and the violent and sexual acts which are implied must have been shocking in 1957. Burt Kennedy's script is wonderfully frank. The male characters express their opinions freely and bluntly. Only in the scenes between Pat and Doretta is there a sense of tactfulness, one which disappears after Willard is killed.

     The cast is great all around. Randolph Scott brings his usual sense of taciturn, reserved coolness to the role of Pat Brennan. He's a likable guy but not someone you'd want to cross. He has good chemistry with his fellow actors especially Richard Boone and also Maureen O'Sullivan, who's actually pretty close to his age for once. O'Sullivan really breathes life into the frail, homely daughter of a rich miner, who finds eventually her courage. John Hubbard is suitably slimy as the cowardly, conniving husband who only married Doretta for her money and abandons her without a second thought. Richard Boone is magnificent as Frank Usher, another strangely compelling Boetticher villain. Skip Homeier and Henry Silva are, at times, unsettling as his good-for-nothing henchmen. Finally, Arthur Hunnicutt is his usual grizzled self as Rintoon, the stage driver with an attitude.

     The Tall T is a great western. With a sharp, nuanced script, economical direction and solid performances, this is one of Boetticher's best.

Score: 9/10