Red River [DVD] [1949]

Against the legendary John Wayne, Montgomery Clift plays the character of the Duke's adopted son. His low-keyed performance is, in my opinion, unique at that pre-Marlon Brando time. From his first appearance as a young boy on, Howard Hawks characterizes him as -a man with a gun- and gives to this manly attribute a symbolic role throughout the entire movie. Hence, the relation Montgomery Clift-John Ireland can be read at a level invisible for the blind monks of the Hays Code.

A recurrent theme appearing in the Hawksian filmography is the theme of the Strong Woman. So let's admire the character of Joanne Dru who is not disturbed at all by the arrow stuck in her shoulder and who, later in the movie, is the only character who's got the guts to face John Wayne, the granite Father.

RED RIVER is a movie that must absolutely have a place in your library. It's a movie that has influenced a lot Steven Spielberg and company , it's a milestone in Movie History. It's a masterpiece.

A DVD zone reference.

Well, I guess they have but it seems to me that they have chosen to ignore what can only be described as the most deflating ending to an otherwise fine film that I can think of.

Let's start with the good points - and let's be fair there are very many of them. Red River is indeed a very fine western. Hawks brings to the screen an epic tale of grand historical sweep, which also has time to concentrate on the complex relationship between the principal characters played by John Wayne and Montgomery Clift.

The black and white photography is a joy to behold and beautifully captures the majesty and terror of the open range.

The descent of Tom Dunston into tyranny and brutality is interesting, as is the eventual mutiny of his men and most importantly the behaviour of Matthew Garth. And here is the crux of the matter: Hawks draws us into this story most masterfully, we can see what is happening and fear the backlash when it comes. However (and from this point on it's all SPOILER), Hawks fails miserably to give the film a satisfactory conclusion. That Dunston and Garth will meet in a showdown is inevitable, but how that resolves itself should be the key to the success of the film and instead of ending in a logical and appropriate way Hawks utilises a one dimensional female character who we know little about and care for even less to play the pivotal role is resolving the Dunston/Garth feud.

It is a matter of public record that the writer of the story upon which Red River is based (Borden Chase) was furious with Hawks for not following the original storyline. Hawks was apparantly loath to seeing John Wayne die so in order to keep Dunston alive and yet resolve the inevitable showdown he revised the ending and dreamt up the intervention of Tess. It's a silly ending, almost reducing the film to a comedy.

For two hours the film rumbles along to the sound of gunfire, herds of cattle and deep psychological uncertainty. Depsite the more lighthearted moments provided by Walter Brennan, this is a dark story - the ending is foolish!

Therefore, and even in the knowledge that the film contains some truly magnificent moments, I must reject the claims for Red River as one of the great westerns. I mean, would The Searchers be the masterpiece that it is if at the end Ethan Edwards invited Chief Scar back to the family ranch for coffee and a chat? What about if Shane, instead of dispatching Jack Wilson gave him a good telling off and made him promise not to be such a bad boy?