NR | 1h 36m | Western | 1955
After immersing myself in Western films, I’ve recognized that certain men possess an innate authenticity to portray cowboys. A standout is Canadian actor Glenn Ford, whose versatility shines through in his portrayal of ordinary men thrust into extraordinary circumstances. This lends itself well to the Western genre, where an individual’s courage, and sometimes audacity, often triumph over adversities, whether human or environmental.
In this 1955 film, Ford takes on the role of John Parrish, a Union Army cavalry veteran seeking solace in a lush valley on the Western frontier after a debilitating battlefield injury.
Despite his troubling wounds, Parrish finds healing in the welcoming embrace of the local community, who not only accept him, but aid in his recuperation. Amid this newfound sense of belonging, Parrish falls in love with a local girl, Caroline Vail (May Wynn).
One day, while Parrish is visiting the town physician, Dr. Henry Crowell (Raymond Greenleaf) for a health checkup, he expresses his desire to sell his ranch and move back East with Vail. Dr. Crowell implores him to stay, since he feels Parrish owes his recovery to the town.
The dominant force looming over the valley is the formidable Wilkison family, led by disabled, crutch-wielding patriarch Lew (Robinson). With the support of his scheming wife Martha (Stanwyck) and ruthless brother Cole (Brian Keith), Lew has consolidated control over all of the area’s cattle ranches. Operating from their imposing compound on the Anchor Ranch, the Wilkisons orchestrate their sinister machinations with relative impunity.
The elder Wilkison maintains control over the valley through a formidable posse of hired killers, with Wade Matlock (Richard Jaeckel) serving as their brutal leader. Matlock revels in terrorizing the innocent inhabitants of the valley, taking pleasure in inflicting pain and humiliation on those who dare to oppose the Wilkisons’s iron grip on the land.
As an ex-soldier who has witnessed his share of conflict and bloodshed, Parrish has adopted the rather careless habit of traveling through the valley unarmed, even though everyone else carries guns.
Before riding out to the Anchor Ranch for what he thinks will be a negotiation for his property with Lew Wilkison, Parrish even tosses his saddle-slung rifle to one of his men, telling him, “I’m not going to Anchor for trouble.” However, trouble may soon find Parrish, despite his peaceful intentions.
Director Rudolph Maté, known for his work on “To Be or Not to Be” (1942) and “Gilda” (1946), brings a perfect touch to this style of Western. His relaxed pacing allows audiences to savor the natural beauty of the landscape, captured in various rural locations in California and Arizona.
The setting is given its due. As Parrish rides out to the Anchor Ranch, he maneuvers his horse through rocky valleys where ice-capped mountains loom in the background, and across dusty desert environs with beautiful blue foothills on the horizon. Almost every shot looks like a landscape oil painting.
The interpersonal scenes are also skillfully crafted, revealing just enough without divulging everything at once. In one scene, Parrish first encounters Judith (Dianne Foster), the daughter of Lew and Martha Wilkison, as he rides into their compound. Despite her initial wariness and probing questions about his intentions, there’s a subtle undercurrent of curiosity and perhaps even a hint of recognition between them—or is there?
It’s these intricate interactions woven throughout the film that truly elevate it. Under the direction of a less skilled director, the narrative could have easily become convoluted or dull, but Maté demonstrates his mastery behind the camera yet again.
“The Violent Men” lives up to its title with its intense action sequences, but it also offers a nuanced exploration of its characters and themes. With its stellar cast, stunning scenery, and compelling storyline, the film keeps viewers engaged and guessing right up to its adrenaline-fueled, lead-slinging climax.
