I can't remember seeing a lot of films from director William Wellman. But after finally getting the opportunity to see his highly regarded The Ox-Bow Incident, I'd definitely like to try to see some more. It's a serious-minded oater, which even given its short running time, still tries to have a large say on some serious issues, which aren't confined to the time period of the film.
In this case, it's a reminder that even on the fringes of what was then known as the Wild West, the rule of law should be always remembered and practised, as the basis for a civilised society.
This is not what we necessarily see, when drifters Gil and Art, who are nevertheless fairly well-known to the citizens of the small, notably down market Nevada town of Bridger's Wells, arrive back at Darby's Saloon. While the sheriff is out of town, a rumour quickly spreads about a local rancher being killed by cattle rustlers. Against the wishes of the local judge, a large, enthusiastic posse, led by ex-Confederate major Tetley, is rapidly formed with vengeance clearly foremost in its collective mind. Gil and Art join more to ensure their own safety, rather than through any high-minded ideals of seeing justice done. Against Gil's better judgement, the posse insists on heading out through the night into a mountainous landscape, where subsequently three strangers are accosted in their camp with some of the rancher's cattle, which they claim to have legally bought. But will their protestations of innocence ring true with the vigilantes from Bridger's Wells?
In spite of budget limitations which forced him to shoot in black and white on what is pretty clearly studio backlots for much of the film, Wellman managed to fashion a unique sort of film. A fine cast is headed by Henry Fonda, who then proceeds to not play a traditional leading role, at all. Rather his Gil, is an everyman type character, who is just one of many of the ensemble cast making up the posse, but one of the minority of seven as we find out later, who is prepared to speak out against mob rule. Dana Andrews is excellent as a patently innocent family man and the well-spoken leader of the captured strangers, which also includes Anthony Quinn in an early significant role, for once playing true to his Mexican origins. Interestingly the other group member was played by Francis Ford, director John's brother. But really there are excellent performances by any number of the large cast who share much of the onscreen time.
Without spoiling, it's fair to add that The Ox-Bow Incident is not really concerned with your typical Hollywood endings. In fact after the film was finished it sat on the shelves for quite a time, as 20th Century Fox were unsure how to market such a sobering product. As it was, it never turned a profit, but it thoroughly, in my opinion deserved its later Best Picture Oscar nomination.
In this case, it's a reminder that even on the fringes of what was then known as the Wild West, the rule of law should be always remembered and practised, as the basis for a civilised society.
This is not what we necessarily see, when drifters Gil and Art, who are nevertheless fairly well-known to the citizens of the small, notably down market Nevada town of Bridger's Wells, arrive back at Darby's Saloon. While the sheriff is out of town, a rumour quickly spreads about a local rancher being killed by cattle rustlers. Against the wishes of the local judge, a large, enthusiastic posse, led by ex-Confederate major Tetley, is rapidly formed with vengeance clearly foremost in its collective mind. Gil and Art join more to ensure their own safety, rather than through any high-minded ideals of seeing justice done. Against Gil's better judgement, the posse insists on heading out through the night into a mountainous landscape, where subsequently three strangers are accosted in their camp with some of the rancher's cattle, which they claim to have legally bought. But will their protestations of innocence ring true with the vigilantes from Bridger's Wells?
In spite of budget limitations which forced him to shoot in black and white on what is pretty clearly studio backlots for much of the film, Wellman managed to fashion a unique sort of film. A fine cast is headed by Henry Fonda, who then proceeds to not play a traditional leading role, at all. Rather his Gil, is an everyman type character, who is just one of many of the ensemble cast making up the posse, but one of the minority of seven as we find out later, who is prepared to speak out against mob rule. Dana Andrews is excellent as a patently innocent family man and the well-spoken leader of the captured strangers, which also includes Anthony Quinn in an early significant role, for once playing true to his Mexican origins. Interestingly the other group member was played by Francis Ford, director John's brother. But really there are excellent performances by any number of the large cast who share much of the onscreen time.
Without spoiling, it's fair to add that The Ox-Bow Incident is not really concerned with your typical Hollywood endings. In fact after the film was finished it sat on the shelves for quite a time, as 20th Century Fox were unsure how to market such a sobering product. As it was, it never turned a profit, but it thoroughly, in my opinion deserved its later Best Picture Oscar nomination.