Johnny Guitar [DVD]

If Charlotte Bronte had written a Western, she might have turned out something like this lunatic wallow in repressed female sexuality. God knows what the original novel (by Ray Chanslor) is like, but the director lays on the Freudian imagery with a trowel: my favourite is Crawford's blood-red shirt into which she insanely changes while on the run from a lynch-mob. Of the men, only the squalid and asexual Ernest Borgnine has substance; the rest look bemused or mildly disgusted by proceedings. Mercedes McCambridge is a screeching harpy, a force of nature, mesmerising in her intensity. Crawford looks like she's come west as an escapee from the House of Usher. In her caked-on, clown-like make-up that defined her later period, she's a hideous and unforgettable matriarch.

The DVD transfer is superb. There's an enthusiatic introduction by Martin Scorsese, but no other extras. A full-blown psycho-analytic reading as a commentary might have been fun.

Johnny Guitar is out of Republic Pictures and is directed by Nicholas Ray. It's written by Phillip Yordan, who adapts from a novel written by Roy Chanslor, and it stars Joan Crawford, Sterling Hayden, Mercedes McCambridge, Ward Bond, Ernest Borgnine & Scott Brady.Victor Young scores the music, with the theme tune sung by Peggy Lee, and Harry Stradling Senior photographs in Trucolor.

On the outskirts of an Arizona cattle town is a saloon run by the strong willed Vienna (Crawford). It's not a busy place, and the users of it tend to be more of the rough kind, notably The Dancing Kid (Brady) and his gang. At the request of Vienna, her former lover Johnny Guitar (Hayden) arrives for his employment as the musical entertainment. But he walks into a war, a war between Vienna and the townsfolk led by the vicious and vindictive Emma Small (McCambridge).

Johnny Guitar has been called many things. From the deep thinkers who like to call it a feminist statement, an anti McCarthyism allegory and a piece smouldering with sexual repressions and yearnings: to the detractors calling it rubbish, campy and acted so badly that it actually smells of bacon cooking in the kitchen. What is immediately evident about it is that once viewed it's unlikely to be forgotten: which ever side of the fence you sit. It was a troubled production that saw both Hayden & McCambridge declare dislike for Crawford, with Crawford reciprocating the dislike for McCambridge by insisting that her character of Vienna be given more meat from which to further dominate the film. Fans of the film will forever be grateful for Crawford's jealousy, for she got her way, this was after all a vehicle for her, if she had walked, as was threatened, it would have died a death. The shift in emphasis, with the subversion of gender roles, is what makes Johnny Guitar the most intriguing and unusual film that it is.

Upon release in America the film was very coolly received, but out in Europe, notably France, the New Wave directors were very impressed and the film has gained a cult status over the years. So much so that nowadays it gets name checked by such luminaries like Martin Scorsese, who eagerly provides an introduction on the DVD for it. What is it that the fans see that makes it such a favourite? Moving away from the fabulous narrative, where two women are the main characters in a perceived mans world; where the psychoanalytic drama seeps from every frame. It's a technical hotpot as Ray moulds his twisted sexual dynamics together. Trucolor has never looked this nice before, nor ever been so apt. it's almost surreal, certainly lurid, and it neatly brings to the fore the Frank Lloyd Wright-like sets. While the Sedona photography by Stradling, particularly the red and browns of the landscape, is simply beautiful. Cover it all with a hauntingly evocative score from Young and it's one of Republic's most pleasing Western productions.

The cast came in for some grief from the critics, with the main charge being of hamming it up. Not so say I, well certainly not to the detriment of the feverish story. Crawford acquits herself well, black eyes, blood red lips and masculine jaw, Crawford nails the task of butch land owner aching for love from within. As her nemesis, McCambridge steals the movie, Crawford was right to feel jealous, such is the intensity that McCambridge puts into Emma. A vicious psychotic harpy, sexually frustrated, watch the orgasmic glee she shows during one particularly vengeful scene. A Brilliant and frightening performance. Hayden does what he does best, slinks around and plays it almost close to parody, but never once does he come close to being disparaging, his charisma is massive and he acts it like a coiled spring waiting to unfurl. While Bond (puritanical), Brady (edgy) and Borgnine (feral), the three B's, are very efficient in important supporting roles. Special mention for John Carradine, who plays a background character that, thanks to the prolific actor, manages to get noticed and pangs the heart during the finale. A fine cast that plays it right in this cobweb of Freudian splinters.

Save for some tacky back screen work and the odd incredulous character choice: it's observed that Vienna's white dress will draw attraction to them on the lam; then she selects a bright red shirt!, this is near genius. To my mind it's one of the true greats of the Western genre, so count me in as a paid up member for the cult of Johnny Guitar. 9/10

Nicholas Ray was a mercurial and brilliant director. He was bisexual and had affairs with such stars as Marilyn Monroe and Joan Crawford, the star of this film. He was a heavy drinker, a gambler and a drug addict. In short he lived that hedonistic lifestyle so beloved of many Hollywood luminaries. Joan Crawford had a well documented film career. She was notorious for her many lovers and if you believed half of the biography "Mommie Dearest", she was a cruel, abusing, alcoholic Mother to her adopted children. Mercedes McCambridge led a tragic life. She also suffered from alcoholism and her only son tragically shot himself after murdering his wife and children. Sterling Hayden was a colourful character who sailed around the world several times in between acting. His career was blighted due to his activities during the McCarthy years.
So what sort of film would you get if you mixed this powder keg of characters together in a Western. Something volatile? Something unusual? You betcha!

"Johnny Guitar" made in 1954, and not 1963 as advertised is all of those things and more. The story concerns a saloon owner Vienna played by the wide eyed Crawford, who supports the building of a railway and allows a local outlaw "the Dancin Kid" and his gang the use of her facilities. All of which are angrily opposed by the local population. An old lover "Johnny Guitar" an ex gunslinger, who now only carries his guitar returns to try and reignite the romance. The fuse is lit when the gang rob a bank and the locals feel Vienna is implicated. A posse led by Emma Small a local rancher played by McCambridge hunt the gang to their lair.
Emma has always harboured a deep and festering hatred of Vienna. We head towards one of the most unusual gunfights in history between the two female protaganists.

This has to be the strangest and perhaps one of the better Westerns ever made. It was a rare foray into the Western genre for Ray. Unusually the two main protaganists are women and they are more than a match for the men. Nothing unusual in that assertion I guess! Mercedes McCambridge positively oozes jealousy and hate from every pore. Crawford gives a magnificently detached performance as the world weary Vienna. Johnny Guitar mocks the archetypal Western hero with his pacifism. Colour is used to startling effect. The support cast is quite brilliant with Ernest Borgnine, Ward Bond and John Carradine amongst many.

The film is an outlandish off beat gem that throws away the rule book. In 2008 it was selected for preservation in the United States Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant". It is a film well worthy of this accolade. Highly recommended.