The Outlaw [1943] [DVD]

I bought this HOLLYWOOD CLASSICS edition of the outlaw (black and white cover) after seeing the quality on some of the others and was pleasantly suprised. Being in the public domain this film is released by a number of companies and most prints are grainy and very poor. I got a copy of this for a couple of pounds and chose Hollywood Classics because I have a couple of other titles by them which are decent and I was very happy to see a superb print was used and that the erotic scenes CUT in the 1940s are included in this dvd (not erotic by todays standards really! more suggestive then anything. Anyway, thought Id let you folks know, bet Im not the only one who wants to know if any of the OUTLAW dvds are decent quality, unlike most this one IS and though their may be one or 2 dearer ones that could be better (may not be) such as the ROAN group one (thats probably good) when it comes to price this is superb value!

"The Outlaw is probably one of the most(in)famous westerns of all time. Produced and part directed by the legendary multi millionaire tycoon Howard Hughes, it unashamedly exploited the natural assets of its leading lady, the 22 year old former dentist's receptionist Jane Russell. It was originally made in 1940 but ran into trouble with the Hay's code, and subsequent censorship. It was finally released to great box office success in 1946, following cuts. The furore it had caused had already gained it notoriety and free publicity, which no doubt contributed to this success. The film was openly sold as a sex western with provocative movie poster artwork celebrating the very female form of Miss Russell in varying states of undress. "What are the two reasons for Jane Russell's success", ran one provocative ad campaign. Crude but effective! Hughes famously designed a special brassiere to enhance Miss Russell's two prize assets. Miss Russell subsequently said that she never wore the bra in question. On the films showing, it would appear that little enhancement was required for what nature had provided in abundance. The film was certainly pretty risqué for its time, even including a bondage scene, but is rather tame by today's standards. Sadly the film is more interesting for the sensation it caused than the quality of the film itself.

The film is a highly fictionalized account of a relationship between those three frontier legends Doc Holliday, played by Walter Huston, Billy the Kid, played by Jack Buetel, and Pat Garrett played by Thomas Mitchell. Doc and the kid become buddies, in between feuding over a horse and a girl. Interestingly the horse is clearly the most valuable object to the men. An idea that would certainly not be acceptable today! Doc as a result of this new friendship falls out with his old friend Pat Garrett who then attempts to hunt the two of them down. They head inexorably to a very curious climactic gunfight. For one of the protagonists, we see what must surely be the shortest screen sermon in cinematic history!

The famous film director Howard Hawks, who went on to make many fine westerns, worked on the film initially but fell out with the eccentric Hughes during filming, so went un-credited. Ben Hecht the screen writer also worked on the film, and also fell out with Hughes, who was not the easiest man in the world to work with! The legendary cinematographer Greg Tolland of "Citizen Kane" fame also worked in the film. He managed to stay the course! Hughes himself continued the directorial duties with an inordinate amount of time spent in worshipping at the temple of Jane Russell's feminine curves. Unfortunately any story line or innovation was simply sacrificed. Walter Huston is deliciously funny at times as a rather elderly Doc. Thomas Mitchell is woefully miscast as Pat Garrett. He is much too portly and too old. You could have put a white beard on him, and a red robe and he would have made an excellent Santa Clause, but Pat Garrett nooooooooooo! Jack Buetel at least looks a youthful enough Billy the Kid, but has less charisma than my goldfish "Mango". He made a few minor films after this one but unsurprisingly never achieved lasting stardom.

The film is basically an alluring photo shoot for Jane Russell, with a lot of plain juvenile silliness in between. A pity Hawks was not kept on or we may have got a much better film! Colourising, sadly does not make it a better film. It remains pretty meager fare. The new colour is an improvement on the old colorised films, where the colour was often far too over powering. At the end of the day it is impossible to "make a silk purse out of a sow's ear". If you want to watch a good film about Billy the Kid, watch Sam Peckinpah's "Pat Garrett and Billy the Kid"(73). A very generous three stars for two very good reasons.

A light and frothy western that, in a genre marked by classics still stands up as good entertainment.

The plot, as with most of its type, plays fast and loose with history, pitting Billy the Kid against Doc Holliday. The love triangle that forms between them and the lovely Jane Russell brings a sense of menace to the piece as one knows the two gunslingers will surely face one another off.

The contrast between impetuous but bonny Billy and the wizened Doc offers a pleasing, if predictable, platform for the film. As the two form the bonds of friendship, a tenderness for the characters and growing tension at the underlying love trysts keeps one glued to the screen. The brooding machismo is well countered by Russell's sultry mexican who sets the screen alight with sexual charisma.

Events are speeded by the town sheriff who, unusually for the time, provides the antagonist. His repeated and unreasonable attempts to apprehend Billy lead to the inevitable showdown where the Kid demonstrates his wits are as quick as his shooting irons.

The overall confection is too frothy and light to have a true impact beyond the diversional. For those who like a Western without the emotional/philosophical weights so often attached, you couldn't do better.