Hard to know what to say about this florid concoction except that it's truly one of a kind. Taken as a western, it's plain god-awful. Taken as parody of a western, it's sharp as a doorknob. Taken as an experiment in Technicolor, I can think of cheaper ways. To me, the movie is best taken as a collection of insider indulgence. How else to explain Crawford's Park Avenue get-up, or her desert island casino, or McCambridge's manly fierceness, or a bookish bank-robber, or a showdown for toughest woman of Lesbos.
Now, scholars can play around with symbolism all they want. But first, the subject has to be interesting enough to play with. Seems to me there are worthier movie subjects than this one for analysis. Sure, I've read how the story's really a color-coded allegory of McCarthyism, with the black-clad posse as HUAC and the bank robbers as commies. After all, the Dancin' Kid is left-handed and the gang does stick together and they do rob banks. Probably this is as good a subtext reading as any, that is, if you're looking for some such. Me, I just take it as a slice of Hollywood weirdness with Crawford playing dress-up and in charge, with the estimable Nick Ray trailing somewhere behind.
Now, scholars can play around with symbolism all they want. But first, the subject has to be interesting enough to play with. Seems to me there are worthier movie subjects than this one for analysis. Sure, I've read how the story's really a color-coded allegory of McCarthyism, with the black-clad posse as HUAC and the bank robbers as commies. After all, the Dancin' Kid is left-handed and the gang does stick together and they do rob banks. Probably this is as good a subtext reading as any, that is, if you're looking for some such. Me, I just take it as a slice of Hollywood weirdness with Crawford playing dress-up and in charge, with the estimable Nick Ray trailing somewhere behind.