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MADE IN AMERICA: EXPLORING THE HOLLYWOOD RED RIVER (1948) – INTRODUCTORY LECTURE

TRANSCRIPT Introductory Lecture: Red River (1948)

Welcome to the Western. I’m glad you can be here today. Red River (1948) is a 1948 Western film produced by and starring and Montgomery Clift. The film’s supporting cast features Walter Brennan, , Colleen Gray, , , Hank Worden, Noah Beery, Jr., Harry Carey Jr., and Paul Fix. The was based on Borden Chase’s original story which was first serialized in The Saturday Evening Post in 1946 as “Blazing Guns on the Chisholm Trail.” The movie’s ending differs from that of the original story. In Chase’s Saturday Evening Post’s story, Cherry Valance shoots Tom Dunson dead in Abilene and Matt takes his body back to to be buried on the ranch. Red River cost an estimated $3 million to make it did very well at the box office. In 1948, it grossed $5 and a half million domestically and worldwide it made over $9 million. It was a very, very popular movie.

The film is also an art movie. It was nominated for for Best Film Editing by Christian Nyby and Best Writing Motion Picture Story by Borden Chase. was so impressed with John Wayne’s performance in Red River that he is reported to have said I didn’t know the big son of a bitch could .

In June 2008, the American Film Institute listed Red River as the fifth best film in the Western genre. In 1990, Red River was selected for preservation in the National Film Registry by the Library of Congress as being culturally historically or aesthetically significant.

Red River is a cattle drive movie. It’s the story of a Texas rancher who has to move his cattle to the railroad in order to be able to save his ranch. The movie has a very famous stampede scene in which Richard Harlan, the cinematographer, has a river of the long horn cattle pour down a hill. As a visual experience, Red River is spectacular. It was filmed in 1946, copyrighted in 1947, but not released until September 30 1948. This movie had many production problems and post production problems. Howard Hawks was not satisfied with the editing of Red River while the movie was in production and he asked Christian Nyby to take over cutting duties. After production, MADE IN AMERICA: EXPLORING THE HOLLYWOOD WESTERN RED RIVER (1948) – INTRODUCTORY LECTURE

the prerelease version was 133 minutes long before this version could be released Howard Hughes sued Howard Hawks he claimed the scene between Tom Dunson and Matthew Garth was taken from another scene called The Outlaw which was released in 1943 which Hawks had shot for Hughes. To resolve this issue, Nyby went back and forth, trimming and cutting until a compromise with Howard Hughes could be reached. Their final product was the original theatrical version which was released at 127 minutes. Now, nobody knows why but this 127-minute theatrical version, which was preferred by Howard Hawks, was lost, and what people have seen on television broadcasts and home video releases for decades was the 133-minute, pre-release version which Howard Hughes disliked and threatened to sue them over.

The original, theatrical cut was re-assembled by Janus Films in co-operation with United Artists’ parent company MGM for their Criterion collection, and this was released on May 27, 2014. So, if you’re reading critical material on this film, and there’s scenes that you don’t recognize, it’s because those critics were working with the 133-minute pre-release rather than the 127-minute theatrical version that we’ll be looking at in this course.

Critical reviews of Red River are fascinating. So what I’ve decided to do today is take a look at Bosley Crowther’s review of Red River which came out in 1948 and compare it with Ebert’s review of the same movie fifty years later.

“Up to a point in "Red River," which came to the Capitol yesterday, this opus is on the way towards being one of the best cow-boy pictures ever made. And even despite a big let-down, which fortunately comes near the end, it stands sixteen hands above the level of routine horse opera these days. So strap on your trusty six-shooters and race to the wind-swept Capitol, you lovers of good old Western . It's round-up and brandin' time!”

Crowther talks about what works for him in the movie before moving on to what doesn’t work. What works for Crowther is the cattle drive itself. He says, “for at least two-thirds of the way, it's a down-to-earth story of cow-pokes and the tough, dangerous lives they used to lead. It's the story of a great migration of a cattle herd, said to be the first, from the breeding grounds in Texas to Kansas, along the Chisholm Trail. And it's the story of a desperate contention between two strong- minded men, a hard-bitten veteran and a youngster—or Mr. Wayne and Montgomery Clift.” MADE IN AMERICA: EXPLORING THE HOLLYWOOD WESTERN RED RIVER (1948) – INTRODUCTORY LECTURE

“So long as it sticks to cow-herding and the gathering clash between these two—a clash brought on by disagreement as to whether they should try the untrod trail—it rings with the clang of honest metal and throbs with the pulse of real life, “ Crowther says. “For Mr. Hawks has filled it with credible substance and detail, with and understanding, humor and masculine ranginess. He has made it look raw and dusty, made it smell of beef and sweat—-and he has got a stampede of cattle in it that makes you curl up with terror in your seat.”

Crowther really likes the transmission and representation of masculinity in this film. He says the problem with the film is that there’s a woman in it: then he says, “Then the cowboys—and the picture—run smack into "Hollywood" in the form of a glamorized female, played by Joanne Dru. For she is the typical charmer, with a voice like Dorothy McGuire's, and the havoc she plays with the hero—and with the contents—is almost complete. The characters turn into actors and the story turns into old stuff. It ends with the two tenacious cowboys kissing and making up.”

Personally I like the ending of Red River, but then I think it’s funny. I don’t think that Crowther thought it terribly funny at all. In 1998, almost fifty years later, Roger Ebert wrote a review of Howard Hawks’ Red River, and his take on the movie shows us that in some ways American culture has changed and in other ways it hasn’t changed that much at all. Ebert is particularly interested in the of Tom Dunson, He says Dunson is both “hero and villain. It's a sign of the movie's complexity that John Wayne, often typecast, is given a tortured, conflicted character to . He starts with “a boy with a cow and a man with a bull,” and builds up a great herd. But then he faces ruin; he must drive the cattle north or go bankrupt.”

Ebert says, “[t]he of “Red River” is from classical tragedy: the need of the son to slay the father, literally or symbolically, in order to clear the way for his own ascendancy. And the father's desire to gain immortality through a child (the one moment with a woman that does work [for Ebert in the film] is when Dunson asks Tess to bear a son for him).”

This leads us to two really interesting questions that Ebert raises about the movie: the first is Tom Dunson a tragic figure? Is he a tragic figure in the classical sense of the term? If so, he’d have to have the following characteristics. Does he display arête or traits of excellence? Is he an outstanding individual? Does he have or character flaws? And most importantly, does he exhibit hubris, overweaning pride that motivates him to attempt to rise above his station in life? MADE IN AMERICA: EXPLORING THE HOLLYWOOD WESTERN RED RIVER (1948) – INTRODUCTORY LECTURE

Now if Dunson is a tragic figure in this sense what sort of a film narrative is Red River? Could the god badman be a ?

Ebert also points out that Tim Dirks, another critic, has noticed that there’s parallels between Tom Dunson and Matthew Garth’s and standoff and Captain Bligh and Fletcher Christian’s conflict and standoff in Mutiny on the Bounty. Borden Chase’s screenplay for Red River does “much of the older man's pride and the younger [man’s] need to prove himself.” So this is another possible way to read the movie.

Also established but never really developed, and this has been quite a topic for discussion in the last twenty years, is the rivalry between Matthew Garth and Cherry Valance. Groot, played by Walter Brennan, predicts that there’s “gonna be trouble” between those two but the film never develops this rivalry and never delivers the trouble, so these two characters are stranded in the middle of what Ebert terms “a peculiar ambivalence.” Cherry has a really famous line, he says when he’s handling Matt’s gun, you know, ““there are only two things more beautiful than a good gun: a Swiss watch or a woman from anywhere. You ever had a Swiss watch?”

Now apparently when Hawks and his actors were blocking and rehearsing the scenes, they decided to play the scenes as if the two men were closet homosexuals. Another thing to keep your eye on when you’re watching Red River are the three scenes with Tess. Ebert claims that those three scenes are the movie’s low points in part because of her prattle, in part they are the low points because she’s all too obviously the the needs to avoid an unhappy ending. He says, the final scene is the weakest: two men, he says, “act out a fierce psychological rivalry for two hours, only to cave in instantly.”

When you watch the end of Red River, it will be interesting to see if the ending does or doesn’t work for you. I’m looking forward to talking to you in the forum about Red River. Let’s take ‘em to Missouri.

MADE IN AMERICA: EXPLORING THE HOLLYWOOD WESTERN RED RIVER (1948) – INTRODUCTORY LECTURE

We’re going to start the course with a short movie called The Great Train Robbery. It was released in 1903. They say that Hollywood grew up with the Western, or conversely the Western grew up with Hollywood, so I thought The Great Train Robbery would be the place to start. Then we’re going to skip ahead to 1939 and take a look at John Ford’s Stagecoach. I want to talk about the Western in general before we look at Stagecoach and The Great Train Robbery because the Western really is genre that’s quite complicated and has morphed throughout the twentieth century. At the very beginning, the Western contained a number of art forms: for example, there were dime , penny dreadfuls, comics, films, radio and television. It’s a form of American or -making. The Westerns we’re used to seeing come out of the American Old West. Many feature Native Americans, cowboys, lawmen, outlaws, soldiers, and, of course, the landscape of the American West which is in effect a character in the Western. It was an extremely popular art form in the ‘Teens and the Twenties. It was particularly popular in the 1930s, 40s, 50s and into the 60s. The heart of the Western really lies at the very heart of America itself.

So, let’s take a look at The Great Train Robbery. The Great Train Robbery was released in 1903. It’s a short Western silent, and it was written, produced and directed by Edwin W. Porter who was an Edison Studio’s cameraman. Great Train Robbery is considered to be really the beginnings of the Western and a milestone in American filmmaking. Porter used a number of techniques that MADE IN AMERICA: EXPLORING THE HOLLYWOOD WESTERN RED RIVER (1948) – INTRODUCTORY LECTURE

were ground-breaking at the time: composite editing was one; on location shooting was another. Up to this point, films had been shot in studios. Porter took the camera out to the train and out into the country while making this particular film, and there was frequent camera movement as well. The Great Train Robbery was really innovative for its time, really ahead of its competition. When this film was actually being made and the negatives had been produced, they were sent to the factories and the women would sit and hand-tint each individual frame—and it only cost a hundred and fifty dollars, to give you an idea of what it cost to shoot a Western then.

If you look to your left, you can see the film poster which identifies it as an Edison film, copyrighted in 1903. And in the middle of the poster there is a picture of a man who is shooting a gun at the camera. I’ve got a larger copy of that photo—you should be able to see the gun pointing at you and the man’s face. This is the last shot of the film, and for the time it was a really controversial shot. were not making distinctions between reality and then the reality that’s being presented on the screen as being different. Early audiences, if they saw a train coming down the tracks towards them or towards the camera, would run out of the auditorium, because they were afraid they were going to be run over by the train. In 1903, it was not surprising that women were screaming and fainting when the man pointed his gun at them and a big puff of smoke would come out of the muzzle. This was a film that was very controversial for its time, a lot of ground-breaking work in this film. Upon its release, The Great Train Robbery became a massive success. It became one of the first blockbusters in the film industry.

Genre conventions: revenge plot line, taming the frontier plotline, civilized order vs the lawless frontier is another popular convention that you find working throughout the Western. Another important convention in the Western, and it really frames the film that we’ll be watching, the movement in these films from East to West. It’s very, very important. When you’re working with the movement from East to West, you’re looking at a transition from the Old to the New World. America was a social experiment, so quite often you’ll find the Old World being represented by European values, and Americans going forth, boldly creating a new country. There’s an emphasis on egalitarianism in the Western, underpinned by the idea of man leaving a corrupted civilization and going to a natural Paradise. MADE IN AMERICA: EXPLORING THE HOLLYWOOD WESTERN RED RIVER (1948) – INTRODUCTORY LECTURE

Iconography is important when you’re working with the Western: covered wagons, of course, and teepees, certain guns, certain kinds of whips, knives, roll-your-owns. There’s different kinds of hats that are definitely Western hats like Stetson Trail Bosses; boots, crosses, lariats, and saddles are all identified belonging to the Hollywood West. Interior settings of saloons, hotels, jails, towns and streets are identifiably Western, and we’ll be talking about those as we go along. It’s important to know how to look like a Western hero.

I mean, it’s immediately recognizable. For example, the picture, Human Stuff, does not immediately identify itself as a Western title. We’re not looking a Stuff, or Cowgirl Stuff

or even Cow Stuff. It’s Human Stuff. Even though Harry Carey, Sr., here is a major Western star, he could be in some sort of a melodrama rather than something that is identifiably Western, but we know that it’s going to be a Western, because he’s wearing his cowboy boots, and he’s got his cowboy hat and neckerchief on.

There’s all sorts of dualities, and I’m just going to introduce three right now. We’ll be looking at others as we go through the course. There’s the East/West duality or binary; a binary that runs throughout many of these movies between Law and Order and Lawlessness; men and women also tend to square off against each other. Women are generally associated with the East. A “real” man out West settles his own affairs as he sees fit.

So let’s take a look at the Western—let’s take a look at this amazing construct, this amazing product of American culture. We’re going to start in 1939. In 1939, it cost a lot more to make a Western. Remember when we looked at The Great Train Robbery, we were looking at a hundred and fifty dollars in terms of production costs and post-production to get the prints together, and then they went off to the theatre. In 1939, it cost $392,000.00 to make a Western. The returns were high. People paid to see Westerns. So, Stagecoach: the powerful story of nine strange people: it was a Walter Wanger production. It was directed by John Ford. John Wayne wasn’t a big star. And I’ll be glad to introduce you to Stagecoach in the next lecture.