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on 5 October 2009
I never tire of watching this classic. The characters are so clearcut and one feels some empathy with all of them even the villains who are a product of a hard country and ignorance. The roughness and cruelty of the wild west is all there. Unusually even the romance angle, which usually ruins most westerns is treated in a simple, unsophisticated manner. The scene with Doc Holliday and the travelling actor leaves one terribly moved and as the story surges towards its inevitably tragic conclusion you know that no one is going to end up happy but this is the way it has to be. Ford never made a better western.
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on 27 February 2001
Probably the best movie of this director: a true celebration of the legend of the American west. The movie tells the classic story of the gunfight at the OK Corral with sheriff Wyatt Earp: while it isn't historically realistic, it outshines ALL later attempt to do a more accurate version of the story. The reason is simple: Ford always said that "the legend is more interesting than the truth". Of course it's a Hollywood movie, and it's not a revisionist Peckimpah western, but it has interesting characters (even the lesser one such as the barman are believable and add some human touches), a solid plot, a great screenplay (don't miss the Shakespearean actor who wants to perform in a saloon!!!) and an EXTRAORDINARY B&W cinematography.
The FOX cassette version is very good!
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on 22 February 2013
Every scene is brilliantly done; there are some classic Western elements wherein: a man does what a man has to do; a man and a woman are threatened with and shown their potential for happiness before delaying or denying themselves a future; a once great man sacrifices himself for the good of humanity despite his faults; all of the supporting characters have back-stories which are worked out with equal and lasting believability. Humane and convincing performances all-round particularly Victor Mature, surely one of the great underrated film actors who may have been hopeless on stage but put in front of a camera is a great presence here certainly. Moments of comedy and pathos and cruelty and lightness and hope all superbly filmed by a luminous camera. It's a cracking story and a superbly amusing and literate script which uses Shakespeare in a thrilling moment as well as any film I've seen ever has (Withnail and I is good at that of course!). To watch and watch again with ever-increasing delight. A masterpiece.
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on 26 May 2015
John Ford's rather graceful and restrained 1946 take on the legend of Wyatt Earp ambles its way onto Blu ray from American classic movie experts Criterion. As with all of the Criterion Collection My Darling Clementine is region A locked meaning that you WILL require a multi-region Blu ray player to view the content on this disc. As I have found with a number of Criterion Blu rays the region coding can be bypassed on certain Panasonic decks by pressing stop on the mis-matched region screen then top menu. I can confirm that this particular release plays perfectly with this trick on my Panasonic BD80. As far as I know this only works on Panasonic equipment. As a footnote it is worth noting that Criterion have presented two cuts of My Darling Clementine on this special Blu ray edition. A 4k digital restoration of the original theatrical version running 97 minutes and an HD presentation of John Ford's prefered 103 minute pre-release version.

Synopsis:
Whilst driving their cattle on route to California Wyatt Earp(Henry Fonda) and his three brothers Virgil (Tim Holt), Morgan (Ward Bond) and James(Don Garner) are approached by local cattle ranch owner Old Man Clanton (Walter Brennan) who offers the brothers a price for their entire herd stating that a percentage will not survive the perilous journey out west. When Wyatt declines it appears there are no hard feelings with Clanton even recommending the nearby town of Tombstone as a possible place of respite for the weary travellers. Leaving their youngest brother James to watch over the herd, Wyatt, Virgil and Morgan head off to town but the evening is soon disrupted when a drunken Indian decides to shoot up the saloon. When the town marshal refuses to tackle the ruffian Wyatt steps in and casually takes him out prompting the mayor of Tombstone to oust the existing yellow belly law enforcement and offer Wyatt the role of marshall. Eager to return to his cattle drive Wyatt refuses the job and he and his brothers head back to their camp to find James dead and the whole herd rustled. With an inkling that Old Man Clanton and his sons were responsible Wyatt returns to Tombstone and accepts the job of town marshal on the condition his two remaining brothers can be appointed as his deputies where they vow to clean up the lawless town and find and punish the murderers of their baby brother in the process.
Whilst playing a little poker in the saloon Wyatt notices a certain unaccounted for presence going under the name of Doc Holliday who appears even in his absence to control the gambling table and has even snagged the prettiest gal in town, the feisty red hot saloon singer Chihuahua(Linda Darnell). When the aforementioned Doc Holliday(Victor Mature) finally makes his presence known he turns out to be a hard drinking ex surgeon turned gambler and gunslinger who has deserted his practice and moved out west after contracting tuberculosis. After making his intentions for the town known to Holliday, Wyatt befriends the rogue but complications begin when Doc's prim and proper ex sweetheart Clementine Carter (Cathy Downs) who has been searching the country for her long lost love arrives in Tombstone immediately taking a mutual fancy to Wyatt. Doc is displeased with Clementine's arrival, seemingly wanting to forget his old life from the East and hurtfully commands Clementine to leave Tombstone on the next available stagecoach. But as the coach doesent leave until late the next day Wyatt escorts Clementine to the opening of Tombstone's new church where their relationship truly begins to blossom. Whilst all this is going on it transpires that Chihuahua has been seeing one of Old Man Clanton's sons Billy (John Ireland)behind Doc's back. But the Clanton boy hasent covered his trail particularly well by giving her a gift of an amulet that had once belong to James Earp, the late, murdered brother of Wyatt. The resulting strife which ensues this action builds to a crescendo resulting in the infamous climatic gunfight at The Ok Corral.
The story is something of Hollywood gold, with the legendary re-telling of the life and times of Wyatt Earp, his brothers and their showdown with the Clantons having been put to film many times with such fine examples as The Gunfight At The OK Corral (1957) through to the Kevin Costner entry from 1994 simply titled Wyatt Earp through to possibly the truest example ever committed to celluloid George P Comatos's 1993 effort Tombstone. Despite some historical inaccuracies(characters professions are changed, Holliday never died at the OK Corral and Clementine Carter never crossed paths with Wyatt) John Ford's movie is possibly the best if taken solely as a piece of fiction. Low key and affecting with a deeply romantic and lyrical feel My Darling Clementine focuses more on the characters than the bloody shootout in the finalé which almost seems to take a backseat as the film ambles along to its inevitable conclusion. The title of the film alone is a good indication of this with no mention of Wyatt Earp, the Clantons or the violent standoff of the final act. Thats not to say the gunfight isn't spectacular, which it is with Ford definatly shooting it with less is more, producing an edgy, entertaining and thrillingly staged set piece where moments of silence punctuated with natural sounds fill the soundtrack making this a wonderful denouement to an already superb movie.
With exquisite shot composition and images of exceptional raw power and beauty John Ford's vision is a wonder to behold. From the majestic Monument Valley locations littered with the iconic saguaro cactus through to the huge American skies and horizons which appear to stretch endlessly My Darling Clementine has the stamp of the director running throughout the runtime.
But for all Ford's deft skills behind the camera this is Henry Fonda's film all the way bringing a layered portrayal to the character of Wyatt Earp. Tough with men but surprisingly shy, naive and gentle around the fairer sex he is never particularly imposing but possesses an inner strength and cool demeanor especially as he lounges Stetson down and feet up on the porch. There are moments of awkwardness making him seem far more human too from the square dance with Clementine at the partially built church with the whole of the town watching and the priest announcing their arrival ("make room for the new marshal and his lady fair") to the insecurity of a new haircut or asking the saloon barman if he had ever been in love. A special note must also go to Victor Mature's towering performance as Doc Holliday. With his heavy set 6ft.2in frame and grandiose personality he hardly resembles a man slowly dying of tuberculosis (Val Kilmer epitomised this perfectly in Tombstone) but what he does bring to the role is a depiction of a condemned and tortured man who knows his best days are behind him realised dramatically in the scene where he smashes his framed medical qualification with a shot glass.
There is much to admire in John Ford's My Darling Clementine. Full of rich detail and classic western imagery this story of a strong whilst at the same time humble and insecure everyman cleaning up a lawless town and making it safe for a man to take a shave without getting his head blown off ranks as some of Ford's greatest work.

Picture:
The original theatrical release of My Darling Clementine has been given a spectacular new 4k transfer that brims with quality. Presented in an AVC MPEG 4 1080p transfer and framed at the correct academy ratio of 1.33:1 this is extremely impressive work from Criterion. First and foremost the image is incredibly bright and crisp for the daytime scenes that literally bristle with fine detail from the rough textures of wood and sandy ground around the OK Corral through to intricacies of faces and hair and the weave in clothing. Depth is wonderful and readily apparent from the opening shots of Monument Valley through to the infamous image of Fonda relaxing in his chair again with Monument Valley looming in the background. Black levels are deep and inky and shadow detail is good, most noticeable in the low lit saloon scenes and the rain swept traumatic moment at the camp when it is realised that James has been murdered. Most importantly for a b&w feature the grey scale is acurate and thanks to a thin dusting of natural 35mm grain the image remains filmic throughout although I did expect the grain scale to be heavier and more pronounced. It is easy to see how much work Criterion have put into this transfer with no age related damage to disrupt the image and with a good encode resulting in no digital anomalies this remains a stable and consistent image that is a joy to watch.
The pre-release version included as an extra is also presented in an AVC MPEG 4 1080p encode but hasent been given the meticulous restoration as the theatrical edit. Although the transfer is mostly good it is littered with age related damage from start to finish with scratches, lines, dirt marks and the odd missing frame. Detail isn't so pronounced as in the 4k theatrical version and does tend to fluctuate and nighttime segments are less well defined. That said this is definatly worth watching for a slightly different take on the movie and of course this was Ford's prefered version.

Sound:
The theatrical version is exhibited in a good quality 24 bit LPCM 1.0 presentation of it's original mono. There are absolutely no problems with this track which features well defined dialogue and foley effects and a crisp dynamic music score. Everything is handled through the centre channel with ease and precision from driving rain, galloping horses and cracks of gunfire which never sound boxed in or fighting for space. Again Criterion have thoroughly cleaned up any age related defects including surface hiss which can often plague vintage titles meaning even the quietest passages are problem free.
As with the image the pre-release edit features an untouched soundtrack presented in lossy Dolby Digital 1.0. Compared to its lossless counterpart this does sound far less robust and a little background hiss is prevalent. This isn't too much of a problem as My Darling Clementine has hardly the most bombastic soundmix but is noticable especially if your used to uncompressed tracks.

Extras:
Criterion really know how to put a package together and with the exception of their completely bare Jubal Blu ray the extras are always the icing on the cake. Well thankfully no fan of John Ford will be left wanting with this wonderful release of arguably one of his best films. As already mentioned Ford's longer original pre-release version has been included and while the transfer isn't up to the same standard as the theatrical it is a welcome addition to finally see how he originally planned the movie to play out without the meddling studio who famously re-cut, re-shot and re-scored Ford's finished film. A version comparison piece is also included highlighting the main differences between the two cuts.
Next up is a thorough audio commentary by John Ford expert Joseph McBride who details the production of My Darling Clementine, the work of John Ford and also highlights the movies inaccuracies. A short 15 minute silent movie from 1916 entitled Bandit Wager is also included. This was directed by John Ford's brother Francis and is presented in 1080i. Lost And Gone Forever is a video essay by film scholar Tad Gallagher. Presented in 1080p and running for around 20 minutes this feature talks about the characters of My Darling Clementine and how they fit in with Ford's body of work.
Print The Legend is an interview with another western scholar Andrew C Isenberg, author of Wyatt Earp:A Vigilante Life. Running for 15 minutes and presented in 1080p this featurette looks at the life of the real Earp. Next up is Today:"Report on Monument Valley" which is a 6 minute except from NBC's Today programme recorded in 1975 on the history of the iconic valley and its influence on the western genre.
To round things up is another Lux Radio adaption of My Darling Clementine which owners of other western Blu rays will already know about and of course the original theatrical trailer presented in full HD 1080p makes an appearance. As is always the case a good quality glossy insert booklet Criterion style is inside the box making this feel a very complete and highly recommended package.

Conclusion:
John Ford's My Darling Clementine gets the delux Blu ray treatment here as part of the prestigious Criterion Collection, an honor this wonderful movie thoroughly deserves. It may not be the most accurate or action packed re-telling of the age old tale of the gunfight at the OK Corral but is a truly fantastic piece of cinema that comes highly recommended to fans of the western genre and classic movies in general. Criterion's new 4k transfer is a wonder to behold and the inclusion of the rarely seen pre-release version is a real treat or fans of John Ford as are the other worthy supplementary features. At time of writing it is said that Arrow in the UK are releasing their own special edition of My Darling Clementine again complete with the pre-release version included but with some different special features.
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on 29 November 2009
When people say `They don't make them like that anymore' this marvellous film is the sort of thing they mean. You all know the story so i won't bother telling you. Wonderful performances from a never-better Henry Fonda as Wyatt Earp(check out the dancing!), Victor Mature as Doc Holliday (got a bit of a cough doncha know) and Walter Brennan as the head of the somewhat parentally challenged Clanton family. Beautifully shot in black-and-white, full of dry humour and, basically, one great scene after another. Who cares if it's historically accurate, it's a great film. See it.
Oh and of course as it's a John Ford film you get to hear `Shall we gather by the river'. What more could you ask for?
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on 16 July 2015
What an odd western. What an odd movie. The rhythm is very strange, and yet it's compelling. Beautifully shot in black and white, with the vista of Monument Valley in the background as you look down the main street in Tombstone, the movie seems to be a series of odd contrasts -- the roughness of the town's saloon and the soliloquy from "Hamlet"; the brawling and the dancing; the contrasting families of the Clantons and the Earps; Chihuahua (Linda Darnell, looking amazingly like the young Elvis) and Clementine; Wyatt Earp and Doc Holliday. The latter contrast is central to the feel of the whole thing, with Wyatt's quietness and near-immobility at times (he's often seated) with the consumptive and self-destructive Doc's nervous energy and dangerous unpredictability. To my mind, fine though Henry Fonda is in fulfilling John Ford's conception of this role, it's Victor Mature who steals the show. To be sure, it's a showier part, and the effect of Fonda's performance requires Mature to be effective in his, and does he ever deliver! His taking up of the Shakespearean soliloquy from the drunken actor is one of the great moments in any western. Likewise, the dance scene at the church, where we see Fonda in disciplined motion, is also striking.

The old contrast between discipline and wildness seems central. The Clanton family seem half-wild, where the Earps in the movie are almost tame until circumstances require them not to be. They're careful -- they plan their OK Corral strategy, and they don't suffer emotional ups-and-downs in the way that the lawless and more hair-trigger and impulsive Clantons do. As Old Man Clanton, Walter Brennan gives a great performance, almost seeming surprised by himself at times in his reactions to things. Is the shooting of Virgil Earp pre-meditated? It doesn't look like it. That contrast between impulse and self-control seems to be seen in the women too. Chihuahua and Clementine are at opposite poles, for even though Clementine seems to have been impulsive in following Doc, it's truer to say that she has been persistent, and when she's rejected, she never loses her dignity. Chihuahua is more impulsive -- and she pays the price.

The expected elements of a western are here too -- the gunfight at the end, a chase by horseback of a racing stagecoach, the subduing of a dangerous drunken Indian (politically incorrect nowadays!) -- but what's unusual is their place in the overall structure. They aren't connected to what seem to be the film's main concerns, and yet, they're satisfying when they come along. The Criterion release has lots of nice special features. The bottom line, though, is that Victor Mature's performance, and Fonda's as the necessary counterweight, are intriguing and compelling.
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Here is a movie which practically hums with excellence, from the star performances of Henry Fonda, Victor Mature and Walter Brennan to the extraordinary craftsmanship of director John Ford. I've watched a lot of Ford movies; many I like and many I don't. My Darling Clementine is, in my view, Ford's most accomplished film. The movie may seem to be about a gun fight showdown, or about the wary relationship between Wyatt Earp and John Holliday, or about a shy romance between an upright man with little experience with love and a proper young woman who decides to be a school marm, or about honor and justice and retribution. It's all of this. Most of all, it's about how the west changed. Ford shows us not through big gestures and symbolic, obvious actions, but through the little gestures of some good people and some extremely well-crafted set pieces.

The Earp brothers led by Wyatt (Henry Fonda) have their cattle rustled and their youngest brother, James, killed just outside the wild town of Tombstone. Earp is sure Old Man Clanton (Walter Brennan) and his four sons are responsible. He decides to stay awhile as Marshal and see about a little legal retribution. He encounters John Holliday (Victor Mature), a self-loathing former doctor, now a quick-shooting killer and gambler, ill with tuberculosis, who runs things in the saloon and is drinking himself to death. Holliday has had a relationship for quite a while with a bargirl named Chihuahua (Linda Darnel). Then Clementine Carter (Cathy Downs) shows up on a stage from back east looking for Holliday. She loves him and wants to rescue him. And Earp finds himself thinking that Clementine is the nicest, prettiest woman he's ever met. "I love your town in the morning, Marshal," she tells him. "The air is so clean and clear...the scent of the desert flower." Says Earp, a little shyly, "That's me...barber."

All these story threads are weaving in and out as the Earps press Old Man Clanton, as Wyatt and Doc nearly kill each other a couple of times, as they discover a medallion that was worn by young James Earp which was given to Chihuahua by the youngest Clanton. Before long a Clanton and another Earp are dead and the showdown at the OK Corral is set for sunup the next morning.

What satisfying delights Ford and his actors give us. There's Fonda's Wyatt Earp, a natural gentleman, shy with a "nice" woman, something of a killer himself. There's Victor Mature's John Holliday, self-loathing, honorable when it matters, a headstrong killer ready to gun down anyone who crosses him. And there's Walter Brennan's Old Man Clanton, just plain mean, a back shooter, a cattle rustler, an old man who always carries a horsewhip and doesn't hesitate to use it on his own sons. "When you pull a gun," he snarls at them, "shoot a man."

The set pieces are powerful and poignant, but they always advance the story and build up the characters. The first meeting between Wyatt Earp and Old Man Clanton out in the scrub. Without being in the least obvious Brennan lets us know Clanton is going to be trouble. Alan Mobray as the alcoholic, over-the-hill actor who is going to recite Shakespeare for the townspeople, encounters the Clanton boys in a bar. They force him to recite 'To be or not to be..." while they shame him...until Holliday intervenes. When Mobray falters and asks Holliday to continue, Holliday picks up the lines "....but that the dread of something after death, the undiscovered country from whose bourn no traveler returns, puzzles the will." It's a sad moment for Holliday and for us. Fonda on horseback chasing after Holliday who is seated next to the driver on a stage. The horses are running their lungs out and Holliday isn't letting up. Earp catches him and there is a showdown which is quick and efficient. Earp on the porch leaning back on the rear legs of his chair, a boot bracing himself on a railing. Earp and Clementine at the church social when he invites her to dance with a stiff bow. A serious look on his face changes to joy as they whirl around.

The showdown at the Corral is a textbook piece of editing. The whole sequence from the walk to the corral to the final shooting takes only nine minutes. The actual gunplay lasts only one minute. It's dramatic but matter-of-fact. When it's over the old West is done for and the new West, with school marms, is starting. And we realize this by all that we've seen during the prior hour and a half, not just because of a 60-second shootout.

Not only, in my view, is My Darling Clementine John Ford's best movie, it has to be one of Henry Fonda's strongest and most subtle performances. I think he'd easily land among the top two or three on any list of America's best film actors. He shows why with this film.

If you have an all-region DVD player, consider getting The 20th Century Fox Film Classic Region 1 DVD. It comes with the July 1946 preview version which is largely Ford's and the October 1946 release version which had some substantial editing overseen by Darryl F. Zanuck, scenes re-shot and a more obtrusive film score added where Ford had wanted natural background sounds. There is a fascinating interview with Robert Gitt, who did the restoration work at the UCLA Film and Television Archives. He not only describes and shows what his work involved, but also the changes which Zanuck insisted on. Except for the music score additions, I think Zanuck was right. After hearing Gitt and looking at the comparisons, it was the release version I watched. It's an instructive example of just how limited a director's rights can be when the top guy decides to exercise his authority.
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My darling clementine is john fords great classic western starring Henry fonda as wyatt earp the film is black and white and was made in 1946 wyatt earp is travelling across the west hurding cattle with his three brothers vergil Morgan and the youngest james when they meet the clanton gang wyatt goes to the nearest town called tombstone with two brothers when he returns the youngest james has been murdered in cold blood and no cattle to be found. This opens the book of revenge wyatt becomes the marshall of tombstone and revenge takes it's tole and leads to the gun fight at the ok carrol the film also stars victor mature as the infomus doc holiday the film is 97 mins long. The film is a classic directed by one of the best John ford I am 33 and this has lived up to all the storys my grandparents told me about these amazing big stars of time past gone.
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TOP 500 REVIEWERon 18 November 2015
Henry Fonda’s words, identifying himself to Walter Brennan’s 'Old Man’ Clanton (in a rare, menacing 'baddie’ role for Brennan), not only provides a pivotal moment, signposting (as if we didn’t know) the forward trajectory of John Ford’s 1946 western, as Earp suspects Clanton on two counts (murder and cattle rustling), but (oddly enough) also calls to mind a phrase that Sean Connery was to immortalise 16 years later. However, that’s pretty much where any similarity ends. Yes, Fonda’s Earp is a 'hero’, certainly, but not a philandering, amoral one. Indeed, it is difficult to imagine anyone (largely by dint of his on-screen personae) 'living’ Ford’s (and screenwriters Samuel G Engel and Winston Miller’s) romanticised incarnation of Earp more evocatively than Fonda – an upstanding personification of American manhood, whose single-minded, unflinching sense of honour and gallantry can only be compromised by the most serious family transgression. That said, Ford’s mythologizing of Fonda’s Earp also translates into the newly-appointed marshal of the infamous Tombstone (apparently) revealing a sense of vanity – checking his profile in window reflections, constantly aligning his hat and even smelling of honeysuckle(!).

Ford’s film repeatedly draws us (and his characters) back to the past and the difficulties of shaking off its influence. Both newly-failed cattle rancher Earp and Victor Mature’s town 'gambling supremo’ and incapacitated drunk, the self-destructive 'Doc’ Holliday, have histories they would rather forget, whilst Ford’s other star 'character’, Tombstone itself, is attempting reinvention via the building of its first church (in a standout sequence), despite the lingering, disruptive presence of Clanton and his gang of offspring. The mythical (even spiritual) nature of Fonda’s benevolent character is repeatedly to the fore, such as when Holliday queries, 'You haven’t taken it into your head to deliver us from all evil?’.

There are some great set-pieces peppered throughout, but Ford’s film does take its time getting to the (much anticipated) shoot-out at the OK Corral, giving us some intriguing (and typically Fordian) diversions on the way. These include Holliday revealing his cultured side during Alan Mowbray’s comedic turn as actor Granville Thorndyke reciting Shakespeare and the developing rivalry for the Doc’s affections between Linda Darnell’s wild prostitute Chihuahua and Cathy Downs’ presence as the redeeming Clementine (the film tracing an effective transition between the two characters, representing another dimension in Tombstone’s 'salvation’).

As well as Fonda’s presence, for me, the other star of Ford’s film is Joe MacDonald’s cinematography. 'Only’ black-and-white it may be, but the film’s visual sense is outstanding, with stunning framing, not only against the backdrop of Monument Valley (which is obviously a relatively easy win) but also in Tombstone itself, particularly the scenes on the building porches (including the famous profile shots of Fonda’s Earp leaning back on his chair).
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I hadn`t seen this for decades, but I remember loving it when I first saw it (on TV - I`m not that ancient) and the same feeling came back watching it again.
There`s a mythic look and feel to this 1946 black & white movie, with its measured air and easy pacing, stopping en route to indulge Alan Mowbray enjoying himself as an itinerant Shakespearean actor, or an impromptu hoedown at the local half-built church in the fabled town of Tombstone.
Henry Fonda reminds us all that along with James Stewart and, arguably, John Wayne, he was the best film actor in America. His Wyatt Earp is a digniified, complex, good-humoured individual who falls into his new post as town Marshal almost by accident, just as the Clanton gang - led by Walter Brennan`s unsentimental turn as Pa Clanton - are tearing up the place.
Tim Holt (who died much too young) and old Ford stalwart Ward Bond are excellent as two of Earp`s brothers, while a gloomy Victor Mature gives one of his most credible performances as a (rather too corpulent) Doc Holliday.
The ladies are a nicely opposing pair, Linda Darnell bold and brilliant as Doc`s unpredictable floosie Chihuaha, Cathy Downs a little colourless but effective as the attractive, if homely, old flame Clementine.
The film looks gorgeous, though what Tombstone is doing in Monument Valley is anyone`s guess. But then, John Ford virtually lived there - I expect he had a permanent tent set up in the lee of one of the big rocks.
There are things one could criticise - as there are in all of Ford`s films - but it would take a hard heart to hold out completely. It`s well-cast, and Fonda already looked and sounded like the dusty, ironic voice of the old west.
What`s also so likeable about the film is its willingness to 'stop and smell the roses', in other words to pace itself so that it`s not all action. It`s as though Ford took his cue from Fonda, rather than the other way round.
The camerawork by Joseph MacDonald is faultless, and Ford never made such a tender, poetic film. The usual Ford roistering and knockabout 'humour' is, thankfully, mostly missing here, leaving instead a sombre, beautiful film that lingers - for decades, in my case! - in the memory.
The Extra Feature is quite a coup: a Commentary by none other than Wyatt Earp III. Now, that`s class.
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