The main problem with The Americano I feel is it's a film that should never have been undertaken by a studio that was on its way out. Yet RKO was in fact lucky enough to get this thing done and released at all. At least one member of the original cast, Sarita Montiel, never finished it and her scenes had to be reshot with Abbe Lane.
The Americano is a story about a Texas cattle breeder who has bred three prize Brahma bulls and is selling them to a rancher in Brazil. Glenn Ford as the rancher hopes that the money will help him and his brother get started on a new place of their own. He's accompanying the bulls to Brazil and is expecting to get $2500.00 for them.
Of course when he gets there his potential buyer is dead and Ford is soon involved in a local range war, something you've seen in a gazillion American westerns. The dead man's partner, Frank Lovejoy is himself the he bull of the valley trying to push out the other smaller ranchers and farmers like Ursula Thiess.
It was an ambitious undertaking that RKO did, a studio that was on its last legs since Howard Hughes sold it and didn't want it for a plaything any more. The location shooting in Brazil is the best thing about The Americano. A studio like MGM or Paramount should have done this film, with a better story. As it was the film shut down and then was completed stateside in California because it ran out of money. Ford walks through the film looking like a man who was worried his salary check wouldn't clear.
Cesar Romero has an interesting if undefined role as a local bandit who winds up helping the local police. As for Lovejoy there is an interesting gay subtext to his role. He tries to get Ford to stay in Brazil and partner with him, but Ford says he has to get back to Texas and his family. Then Lovejoy pays him and then sets up a robbery where one of his own men is killed so Ford has to return. Now just why was he craving Ford's company so much?
Ford's got eyes for Ursula Thiess though and when he's forced to choose a side, his duty is clear. That upsets Lovejoy even more.
The panorama of the Amazon forest deserved a film of the epic sweep of Gone With The Wind or even Duel In The Sun. What it got was a warmed over range war plot that could have come from a Roy Rogers film.
The Americano is a story about a Texas cattle breeder who has bred three prize Brahma bulls and is selling them to a rancher in Brazil. Glenn Ford as the rancher hopes that the money will help him and his brother get started on a new place of their own. He's accompanying the bulls to Brazil and is expecting to get $2500.00 for them.
Of course when he gets there his potential buyer is dead and Ford is soon involved in a local range war, something you've seen in a gazillion American westerns. The dead man's partner, Frank Lovejoy is himself the he bull of the valley trying to push out the other smaller ranchers and farmers like Ursula Thiess.
It was an ambitious undertaking that RKO did, a studio that was on its last legs since Howard Hughes sold it and didn't want it for a plaything any more. The location shooting in Brazil is the best thing about The Americano. A studio like MGM or Paramount should have done this film, with a better story. As it was the film shut down and then was completed stateside in California because it ran out of money. Ford walks through the film looking like a man who was worried his salary check wouldn't clear.
Cesar Romero has an interesting if undefined role as a local bandit who winds up helping the local police. As for Lovejoy there is an interesting gay subtext to his role. He tries to get Ford to stay in Brazil and partner with him, but Ford says he has to get back to Texas and his family. Then Lovejoy pays him and then sets up a robbery where one of his own men is killed so Ford has to return. Now just why was he craving Ford's company so much?
Ford's got eyes for Ursula Thiess though and when he's forced to choose a side, his duty is clear. That upsets Lovejoy even more.
The panorama of the Amazon forest deserved a film of the epic sweep of Gone With The Wind or even Duel In The Sun. What it got was a warmed over range war plot that could have come from a Roy Rogers film.