Man of the West

1958

Drama / Romance / Western

0
Rotten Tomatoes Critics - Certified Fresh 93%
Rotten Tomatoes Audience - Upright 77%
IMDb Rating 7.1 10 7008

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Synopsis


Uploaded By: FREEMAN
March 18, 2021 at 10:26 AM

Director

Cast

Gary Cooper as Link Jones
Julie London as Billie Ellis
Dick Elliott as Willie
Royal Dano as Trout
720p.BLU
913.02 MB
1280*548
English 2.0
NR
23.976 fps
1 hr 39 min
P/S counting...

Movie Reviews

Reviewed by Nazi_Fighter_David 9 / 10

Violent, sometimes sadistic, the film is nonetheless a powerful piece of work

Mann's cycle began in 1950 with "Winchester '73," continued up to 1958 (his pallid remake of "Cimarron" in 1960 hardly counts here) with "Man of the West," and included a remarkable body of work as "Bend of the River," "The Naked Spur," "The Far Country," "The Man from Laramie," "The Last Frontier," and "The Tin Star."

"Man of the West" starred Cooper instead of James Stewart, and its highly charged story of the conflict between two one-time partnered outlaws, one now reformed, carries strong overtones of sex and violence, the one motivated by the presence of Julie London, the other taken care of by Lee J. Cobb's particularly repulsive villain... The film is replete with interesting, complex characters and exciting situations...

Gary Cooper, in the Arizona of the 1870s, sets forth from his little town with six hundred dollars to hire for it a teacher… A trip on a train introduces him to a comely saloon singer (Julie London), to a card sharp (Arthur O'Connell), but also to a bit of his past he'd rather forget… For when the train is held up it is all too soon apparent that the gang is one to which he'd belonged in the bad old days, led by a villainous kinsman (Lee J. Cobb) and containing another member of the family (John Dehner).

The reformed Cooper's only chance of a getaway—and the girl's chance too—lies in him convincing Cobb and Co., that his loyalties lie with them… Fine, says Cobb, in effect, but do something to prove it.

The 'something' is joining in a stage bank hold-up...

From this moment, the theme is familiar in Mann Westerns and here the mechanics of the 'purging' and the power of it get their best expression… Mann's picture shifts from half-comedy to tense melodrama... Cooper stops being a hick and starts acting serious and clever... "You've changed," O'Connell observes. "You act like you belong with these people."

The clash of family loyalties soon makes itself felt… The old man brought him up when he was a boy—the old man still obviously thinks something of him, since he stops an attempt on his life… But the old man is also a villain, and villainy is his prevailing climate and that is why Cooper initially made his breakaway…

The difference between Cooper and his depraved relatives was significant when it comes across in the way they treat Billie (Julie London). Most Western heroes distrust women, but Cooper respects at least two: his wife and the pretty saloon singer... It makes no difference to him that in Billie's shady past she has probably taken off her clothes for many men and gone much farther than that... When Jack Lord forces Billie to disrobe, Cooper realizes her humiliation... After beating Lord, Cooper makes him cry by stripping off his clothes in front of Billie, reminding him of how he insulted the dancehall girl: "How does it feel?!"

Gary Cooper must take part in two gunfights at the end of the film... The first one in Lassoo, a ghost town which represents the life Cooper left behind... Here, Cooper reveals the very bad talents Cobb taught him... And after finding the saloon singer has been raped, Cooper goes off to find Cobb... Mann typically sets his final gun duels far away from civilization, off in the wilderness, away from all eyes...

Released in CinemaScope and Technicolor, this visually beautiful dramatic Western gained instant notoriety, in 1958, because of the scene in which Julie London strips for the Tobin gang...

Reviewed by ChungMo 7 / 10

Tough gritty western that influenced the Spaghetti Western

There is a bit wrong with this film. Gary Cooper's age versus Lee Cobb's. The coincidental stranding of Julie London and Arthur O'Conell after the train robbery. The abrupt ending.

There is quite a bit not wrong also. The outdoor photography. The interior train scenes seem to have been entirely shot on a real train going down the tracks, not a set with rear projection. All the settings are real looking not Hollywood whitewash. Gary Cooper is low-key but builds his conflicted character well. The villains are among the nastiest one can see in pre-1960's westerns. They really lay the groundwork for the stock western psycho in later Spaghetti Westerns. Jack Lord plays a real maniac!

Mann's eye for visual composition really adds to the psychological atmosphere. You can see the influence on Leone and it seems like Leone imitated a couple of shots from this film. The set design for the town of Lasso could have been used in any Italian western.

A good, if depressing, alternate western.

Reviewed by sol- 6 / 10

History of Violence

Stranded in the middle of nowhere after their train is robbed, a former outlaw, a schoolteacher and a gambler take refuge with the gang that the former outlaw once belonged to in this dark western drama. Taking refuge does not come easy to the once-outlaw, played by Gary Cooper, as he has to pretend to still be a tough lawbreaker despite reforming his ways, and there is a lot of tension in the air as the gang members are equally as uneasy about his return. The plot actually has a lot in common with David Cronenberg's 'A History of Violence' with Cooper having to face the violent past that he thought he left behind. Cooper never quite seems right in the role though; aside from being two decades older than his character, it is hard to ever imagine Cooper once being a hardened outlaw. As a character, he is not as well developed as Viggo Mortensen in 'A History of Violence' either with the train robbery happening before we even have a chance to know him. The film is also set back by a melodramatic music score from Leigh Harline that comes off as overbearing half the time. The film does have its moments though. The long distance shots of Cooper entering the supposedly abandoned cabin are great, capturing the eerie isolation of the place. The scene in which Julie London is told to strip at knife point is nail-bitingly intense too, and while he looks too young to really be Cooper's uncle, Lee J. Cobb is delightful in the role, radiating both danger and a sense of longing, wanting so much to reconnect with the outlaw nephew he thought he lost forever.

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