If you're ever curious why people made such a fuss about Steve McQueen check out NEVADA SMITH, Henry Hathaway's sprawling tale of vengeance and obsession.
McQueen plays young half-Indian/half-white Max Sand, whose parents are murdered by a trio of bandits (Martin Landau, Arthur Kennedy, Karl Malden.) McQueen was 36 years old in 1966, the year NEVADA SMITH was made, and was probably a decade past the time when he could effortlessly portray a naïve young hero. There's a brief, disturbingly violent scene at the beginning of the movie where the three villains are torturing Smith's parents, and the woman portraying McQueen's Kiowa mother doesn't look much older than 35. Still, McQueen brings a wide-eyed innocence to his performance that tremendously helps us suspend disbelief. Besides, I believe I counted exactly zero close-ups in this action western. If you want to check out the crow's feet around McQueen's eyes you'll have to look hard and fast to see them.
McQueen gets a chance to play against some Hollywood professionals at the top of their games. Brian Keith is growlingly good as traveling gunsmith Jonas Cord, who plays Polonius to McQueen's Laertes, and plies the young stranger with instruction and advice. Max Sand won't be argued out of his mission to avenge the death of his parents, and the pragmatic Cord reluctantly agrees to be his mentor. It's through Cord and, later, a priest Sand comes across, that the movie is allowed to question its central theme - vengeance. Cord argues the practical ("You'll turn into one of the rats you're hunting,") the priest the spiritual. It's a tribute to the brilliance of McQueen's performance that by the time we reach the last scene we can see how both arguments have contributed to his maturation. Karl Malden plays the evil, racist Tom Fitch with sadist gusto. Malden overacts a bit in one of those rare roles that benefits when an actor takes it over the top. Watching the suspicious Fitch interrogate the no-longer-naïve Max Sand is one of the highlights of the movie.
The underrated Hathaway shot most of NEVADA SMITH on location, and the realistic look is used to great advantage. He doesn't go for the landmark shots a la John Ford in Monument Valley, choosing instead to play scenes in anonymous swamps and deserts. The realism shoots through all the way to stunts and props and costumes. Instead of elaborately choreographed fist fights with exaggerated sound effects every time a blow is struck, the characters in NEVADA SMITH scratch and claw, bite and kick when they fight. The clothes they wear are torn and dirty and they stay dirty.
NEVADA SMITH has enough going for it to appeal to those who aren't typically fans of westerns. If you are a fan this is a must-see.