Sangue Bravo

This film has an excellent premise, a solid cast, beautiful scenery, and a fine (if brief) score. Yet the final product is only OK. I put the blame on directing and writing that isn't very compelling or incisive.

The same can be said of other MGM films from the late 1940's and early 1950's that I've seen. RKO, 20th Century-Fox, or Paramount would have made this film in a more exciting and engaging manner. For some reason, MGM films from around this time tended to pull their punches.

The Outriders fulfills its genre with minimal expense but maximal outcome. Only a few brief frames appear spectacular, and many of the pleasures are among the overlooked qualities of the mid-20c Western: laconic dialog, complex plotting, psychological challenges, friendships and honor tested. The budget and production values are always restrained, but the strength of the studio system shows in excellent lighting and color plus a number of realistic outdoor scenes blending finely with studio effects. Other reviewers noted the convincing mattes of Santa Fe, but I felt almost intoxicated by the deep blue sky-backdrop to the camping scene that turns from a comic riot to a dance of love.

The other virtue of the studio system is the stable of professional actors who perform their roles not to steal scenes but in service of the plot. Joel McCrea may excel even Randolph Scott in saying the most with the least words while never ever lying--the Western-hero actors of their generation internalized completely the cowboy as a latter-day knight, and the alchemy of script and star is fascinating. Arlene Dahl may be even more economical with her speech than McCrea. In the central dance scene she speaks not a word until a critical moment, then agrees to dance with McCrea only if he bows to put fresh shoes on her feet. The scene is all about sex, but the actors, the script, the direction, and the genre completely control the sexuality's expression.

In the supporting ranks James Whitmore, not yet 30, is convincing as an old-coot warrior-sidekick with kidney trouble, while Ramon Navarro--a former sex symbol entering his 50s--plays a Mexican padrone who's still got chops. Barry Sullivan and Jeff Corey remain menacing even when they're acting cooperative. Claude Jarman, Jr. is always worth watching but the director or editor seemed to forget he was in the movie.

I couldn't stop watching, but the less-enthusiastic reviewers have a point. The film fulfills its genre so professionally that it never falls below a certain level. But those same qualities make its most beautiful moments somewhat understated, like something even better might once have been imagined but for now they need to finish a movie.

Joel McCrea was no more the romantic lead of "Colorado's territory" which was made the year before.At the beginning of the movie he is a bearded man and seems much older than the year before ."The outriders" is a routine western,but an entertaining one,with at least two very good scenes:Arlene Dahl's young brother-in-law ,on guard,afraid of everything,and seeing Indians everywhere ,this very short sequence packs a real wallop; and the scene of the river which almost compares favorably with that of Vidor's "northwest passage".Although the plot is much predictable -with gorgeous Dahl,it could not be any other way-,the plot retains suspense and the colors are fine.

Turner Classic Movies rebroadcast "The Outriders" on May 21, 2005, with some improvements. TCM added closed captions and also seems to have transferred the film to a high definition master, so that the Technicolor looks very smooth. The lack of film grain has a down side during some scenes when print damage is apparent, such as the scratches on the film negative that show up in a few scenes, scratches that are more jarring due to how good most of the print looks. This Western stands head and shoulders over most Westerns released in the past 20 years. Just look at the supporting actors: James Whitmore, Barry Sullivan, Ramon Novarro and, of course, Jeff Corey as the very reasonable, psychopathic Southern raider Keeley. In 1950, MGM still had the production staff and budgets to make its movies look great. The matte effects by Arnold Gillespie at the start, showing old Santa Fe, are as well done as any today. During action scenes, MGM did not skimp on stunt extras. There is one scene near the start, as Joel McCrea and the three other riders with him are riding on top of a ridge, the sun setting behind them. Even if the director lifted the look of the scene from a similar scene in the black and white Winchester '73, this Technicolor scene, only a few seconds long, must have been tough to get right. That attention to quality is consistent throughout this movie. "The Outriders" is an example of what the old Hollywood studios did best: turning out technically well made, interesting movies by the dozens each year. In my minority view, newer popular Westerns such as "Silverado" and "The Unforgiven" don't hold a candle to "The Outriders."

THE OUTRIDERS is a good workmanlike Western. There are no real surprises in the story, but there are some very strong performances. Joel McCrea gives his usual conviction to the hero role, with Barry Sullivan nicely devious as his comrade/rival. Arlene Dahl looks great, but tends to pout a bit much, James Whitmore lends sturdy support in the type of role normally played by Walter Brennan, Claude Jarman Jr. plays another of his doomed youths, and Jeff Corey is quite extraordinary as the villain (with almost expressionist make-up, and did he intend to imitate Kirk Douglas?).

But the movie is stolen by silent screen legend Ramon Novarro in one of his more substantial later roles. He essays his character perfectly, giving it much more depth than was in the screenplay. He also lends the part style, grace, dignity and humor (that "Pagan" sparkle never left his eye, despite his rather sad life).

In short, definitely worth seeing for the performances, and the gorgeous technicolor. What a shame the script and direction don't match them.