NR | 1h 24m | Western | 1950
Some films use propaganda to deepen rifts within the United States. Films like “Civil War” (produced by A24), which pit different factions against each other, are criticized by many as thinly veiled attempts to sow discord rather than promote unity and reconciliation.
Reflecting on films centered on the American Civil War (1861–1865) and its aftermath, we find a similar pattern of polarization, often portraying Northerners as cultured and civil while depicting Southerners as conniving and backward. These depictions exacerbate divisions.
Fortunately, some films offer nuanced perspectives, such as director John Farrow’s 1950 production of “Copper Canyon.” Set in the aftermath of the Civil War, the film follows a group of Southerners seeking to rebuild their lives on the Western frontier after being disillusioned by the war’s outcome.
As they attempt to settle in the mining settlement of Coppertown, the group encounters resistance and prejudice from the local authorities: Sheriff Wattling (Philip Van Zandt) and his enforcers, led by Deputy Lane Travis (Macdonald Carey). The main source of contention arises from the copper mine overseen by Moss Balfour (Francis Pierlot), a staunch rebel-hater who lost a son in the Battle of Gettysburg, the deadliest conflict of war.
The Southern miners face unjust treatment and exploitation, with their mined copper being looted, despite their efforts to follow the rules and earn a legitimate living. Among them is Johnny Carter (Ray Milland), who, like many Southerners, had to reinvent himself. He’s now a traveling performer known for his sharp-shooting and knife-throwing feats.
When Carter brings his act to Coppertown, the desperate Southerners seek his help to resist the oppressive forces masquerading as law and order. Though they correctly identify him as Col. Desmond, a notable Confederate officer, Carter is reluctant to reveal his identity, preferring to keep a low profile and live a quiet life.
Carter soon comes to the attention of both the authorities and the alluring businesswoman Lisa Roselle (Hedy Lamarr), who owns the town’s saloon. When Carter’s affection for Lisa becomes apparent, tensions grow; Deputy Travis also has his sights set on her.
Initially hesitant to get involved in the town’s affairs, Carter finds himself increasingly entangled in the unfair treatment of his fellow Southerners. Additionally, Lisa seems sympathetic toward the ex-rebels.
Ray Milland brings lots of charm and depth to his role as Carter, portraying him as a peaceful yet cunning undercover Southerner with a knack for fine shooting and an appreciation for fine women. His portrayal offers a refreshing departure from the hillbilly trope.
Hedy Lamarr’s appearance in the film leaves a lasting impression. With her dark hair, captivating oval face, and radiant eyes, she truly embodies the allure and beauty associated with Hollywood legends. However, beyond her physical charms, Lamarr demonstrates aptitude in her portrayal.
Macdonald Carey’s performance as Deputy Travis is equally remarkable. He embodies the role of a ruthless bigot who harbors disdain toward Southerners, using any means necessary—legal and otherwise—to expel them from the town. Carey masterfully portrays Travis with a chilling blend of calculated malevolence yet adds complexity to the character through moments of introspection, making him a compelling antagonist.
This Western drama weaves multiple narratives together under the adept direction of John Farrow. While in less capable hands, the film could have easily descended into confusion, Farrow’s guidance ensured its coherence and cohesion.
“Copper Canyon” stands out as an engaging Western that defies stereotypes associated with Southerners and the Civil War. Bolstered by an outstanding cast that delivers commendable performances, the film builds tension steadily, culminating in a gratifying climax that leaves audiences thoroughly entertained and fulfilled.
