Hell and High Water (1954) was one of 20th Century Fox’s earliest experiments
with CinemaScope, widescreen movies that was Hollywood’s attempt in the 1950s to
lure people away from their television sets and back into the theaters by
giving them something they couldn’t get staying home. Samuel Fuller did such a
good job with this format that he used it again on Forty Guns (1957), a hard-hitting western as only he could make.
Right from the opening
scene, Fuller presents an impressive, expansive vista: a wide-open plain with a
lone horse and carriage. He uses the widescreen aspect ratio to convey the epic
grandeur of this landscape. He even has a cloud’s shadow move across the land. There
is a sudden, jarring cut to a close-up of many horse hooves thundering across
the plain. It is 40 men on horseback being led by landowner Jessica Drummond
(Barbara Stanwyck), clad all in black. They head straight for the men and their
carriage only to go flying past them, surrounding them on all sides with no
intention of slowing down, accompanied by Harry Sukman’s rousing score. And
then they’re gone. Welcome to a Sam Fuller western. In his trademark fashion,
the director grabs our attention right away with a visually arresting sequence.
Griff Bonnell (Barry Sullivan) and his brothers Wes (Gene Barry) and Chico (Robert Dix) arrive in a
small, Arizona town. He is a United States Marshal looking to arrest Howard
Swain (Chuck Roberson), coincidentally one of Jessica’s 40 guns. With a few
judicious edits, Fuller gives us a tour of the town, which is being terrorized
and trashed by Brockie Drummond (John Ericson) and his boys. He’s an arrogant
drunk and bully but when he shoots an old buddy of Griff’s (a man going blind
no less), he and his brothers intervene in a bravura scene.
Griff strides purposefully
towards the action, unconcerned at the mayhem going on. Brockie’s buddies
recognize the lawman and flee but the drunken bully doesn’t know or care.
Fuller cuts back and forth between a close-up of Griff’s eyes and Rocky’s gun
repeatedly until the climax when Griff finally reaches Brockie and punches his
lights out. This scene demonstrates how Fuller understood that the power of an
action scene lies in how it is edited. The rhythm and pacing is as crucial as
the camerawork. This approach was later used to even more dramatic effect in
Sergio Leone’s spaghetti westerns.
Jessica comes in with her
posse and quickly gets Brockie released from jail in what can only be called
“frontier justice,” but once she gets him alone, punishes him by taking away
his guns. She’s a tough lady and she has to be if she’s going to lead 40
cowboys. Wes wastes no time romancing the town’s female gunsmith (Eve Brent) in
a flirtaceous scene as only Fuller could write and stage: Wes: “I never kissed
a gunsmith before.” Louvenie: “Any recoil?” Cue romantic music and fade to
black. This is a world where men are men and women are women.
Griff and Jessica inevitably
cross paths and their first meeting is charged with sexual tension as they
exchange pulpy prose as the two hard-nosed individuals test each other only to
diffuse the situation when they have a drink together. Jessica’s tough but also
a shrewd businesswoman and knows better than to mess with a federal warrant and
a revered hired gun like Griff. Their relationship starts off as antagonistic
but eventually blossoms into a romance.
As always, Barbara Stanwyck
is outstanding and conveys Jessica with a forceful nature that makes her a
believable leader of men. Fuller even gives her a wonderful scene where Jessica
tells Griff her backstory and provides insight into what motivates her. It also
allows Stanwyck to reveal a more vulnerable side of Jessica so that she’s more
than just a hard-as-nails leader.
Even though Forty Guns features all the traditional
iconography of a western it contains Fuller’s distinctive, audacious style. For
example, early on a cowboy sings a surreal song called, “High Ridin’ Woman”
about Jessica. It features such memorable lyrics as “If someone could break her
and take her whip away / Someone big, someone strong, someone tall / You may
find that the woman with a whip / Is only a woman after all.” A man in the
middle of an all-male bathhouse is singing this odd song. This gives you an
idea of the kind of wild, go-for-broke cinema that is the trademark of Fuller’s
oeuvre.
Forty Guns
is peppered with Fuller’s trademark bizarre pulpy dialogue, like when Griff
tells Jessica at one point, “In my heart I’ve always asked for forgiveness
before I kill just like an Indian asking for forgiveness from an animal before
the slaughter. You can’t ask after you kill, it’s too late then.” This comes
out of nowhere and is unusual for the genre where men don’t speak so
philosophically. Fuller is being honest and speaking from the heart but looked
at from today’s perspective it is funny.
He also includes oddly
humorous moments like showing Jessica eating her meals with all 40 of her men
and when Griff shows up with a warrant it is passed down a long table for what
feels like an eternity until it is finally put in her hands. There is also
plenty of exciting action, like the scene where Griff and Jessica are caught in
a tornado, which is depicted in harrowing fashion as Fuller conveys a real
sense of danger. At one point, her horse drags Jessica and eventually her and
Griff have to crawl to a nearby shack to take refuge.
There’s an interesting
dynamic between the Bonnell brothers that Fuller explores in a nice scene where
Chico goes on a bender and after being sobered up complains that he doesn’t
want to be a farmer but a gunslinger like Griff and Wes. Griff tells him, “The
last few towns we rode through they looked at my gun and I know they figured I
was one of those freaks out of the past. There’s a new era coming up, Chico. My
kind of making a living is on the way out…I’m a freak, Chico. I just don’t want
you to be one.” It’s an honest talk among brothers that provides all kinds of
insight into these men and their relationship with each other.
Sam Fuller’s original
screenplay, as written, had Griff killing both Brockie and Jessica and was
entitled, Woman with Whip. He was
under contract with 20th Century Fox at the time and its studio head
Darryl F. Zanuck loved it. The marketing department told him that they couldn’t
sell a western where the film’s love interest and her antagonist brother are
killed by the hero and that movie theater owners would never play a film like
that. Zanuck told Fuller to come up with a different ending, which he did and
is in the film. Several years passed and Fox was looking for films that could
be made fast and cheap – something that Fuller excelled at doing.
Before the start of filming,
Fuller was approached by Marilyn Monroe who wondered why he hadn’t asked her to
read for the part of Jessica. He told the actress that her innocence and
wholesomeness would’ve been out of place for the experienced character and that
her presence – she was known for starring in comedies – would’ve changed the tone
of his film.
Fuller had a short shooting
schedule (principal photography lasted less than two weeks!) and so he couldn’t
do many takes. He shot most of the film on Fox’s backlot in the studio’s
western town and much of the outdoor shots where done in “one of those arid
California valleys with unbroken vistas,” he said in his memoir. Barbara
Stanwyck insisted on doing all of her own horseback scenes as well as the stunt
shots. She even did the bit where Jessica is thrown from her horse and dragged.
“Not only did Stanwyck do the stunt, she did it over and over…Barbara was a
little bruised at the end of the day, but she never murmured a word of
complaint,” he said.
Fuller made two-fisted
B-movies full of heightened emotions and without a hint of irony. He honestly
believed in the stories he told and it comes through in every frame of Forty Guns. He was also an expert
craftsman as evident from the masterful framing of every widescreen shot that
places the characters for maximum effect. He may have traded in pulpy stories
but he was no hack director. This film is a revisionist western as it comments
on a way of life that was disappearing as evident in Griff’s self-awareness
that his days as a gunslinger will soon be over and Jessica realizing that her
business is failing and she’ll have to sell her land but it doesn’t mean things
can’t go out with a bang as the film’s exciting climax demonstrates.
Fuller uses every
opportunity to show off the widescreen format while employing extensive use of
close-ups and one of the longest tracking shots ever done at Fox’s studio at
that time. Forty Guns is one of the
most dynamic westerns ever made and this is due to Fuller’s infectious energy
as reflected in his pulpy prose and kinetic camerawork. It’s not enough to say
that they don’t make westerns like this anymore – they just don’t make films
like this anymore.
SOURCE
Forty Guns.
Turner Classic Movies.
Fuller, Samuel. A Third Face: My Tale of Writing, Fighting,
and Filmmaking. Applause 2002.
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