Customer Reviews


14 Reviews
5 star:
 (9)
4 star:
 (5)
3 star:    (0)
2 star:    (0)
1 star:    (0)
 
 
 
 
 
Average Customer Review
Share your thoughts with other customers
Create your own review
 
 
‹ Previous | 1 2 | Next ›
Most Helpful First | Newest First

25 of 25 people found the following review helpful
4.0 out of 5 stars Cooper at his best, 19 Sept. 2006
By 
Verified Purchase(What is this?)
This review is from: Man Of The West [DVD] (DVD)
Anthony Mann made a string of superb westerns in the 1950's - Winchester 73, The Man From Laramie, The Naked Spur (my Favourite).Here he teams up with Gary Cooper who plays a reformed outlaw forced by circumstance to "re-join" his old gang led by Dock Tobin (Lee J Cobb in a crazed performance) to protect innocents he is travelling with. Cooper in keeping with his whole career gives a suitably noble and restrained performance (he was very ill at the time) with the passing of time etched through his every gesture.Watch out for an incredible fistfight with Jack Lord full of all manner of symbolism and mania. An excellent western.
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No


18 of 18 people found the following review helpful
5.0 out of 5 stars Class Act Cooper !, 15 Sept. 2007
By 
Verified Purchase(What is this?)
This review is from: Man Of The West [DVD] (DVD)
The first Western I saw as a youngster starred Gary Cooper, (The Plainsman - 1936- Cecil B. Demille) I've enjoyed the work of this actor ever since and now many decades after that initial encounter that pleasure remains.
This film is typical of a Cooper Western. Once again he does't have a lot to say verbally - he says what he has to say by his very presence, and a well controlled air of menace. Here he plays a former bad guy trying to be a good guy but unfortunately runs into some villainous former compatriots. (Some interesting appearances from his co-stars here, a terrific, crazy role for Lee J.Cobb and a good show from a young Jack (Hawaii Five-O) Lord among others.)
Cooper's loping, laconic, easy-going style is in many ways like that of John Wayne. Both actors appear to just play themselves whatever role they are taking in a movie, and I have no complaint on that score.
Gary Cooper played a variety of roles in his movie career but he will of course always be remembered for his part in 'High Noon', the film (with also perhaps Alan Ladd's 'Shane') that sums up the golden age of the Western movie.

Technically, 'Man of the West' has transferred well to DVD
with excellent colour saturation, sharpness and - surprisingly - a good soundtrack, although it is 2-track mono.
I'm happy to give this movie 5 stars because, at least for me, it achieves all I ask for in a film. Good acting, a good story and an hour or so of entertainment. This was almost Cooper's last film (he was ill during its production) and he managed to complete only a few more following a career total of over a hundred movie performances.
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No


11 of 11 people found the following review helpful
5.0 out of 5 stars Mann and Cooper at the top of their game., 6 Feb. 2009
By 
Bob Salter "Captain Spindrift" (Wiltshire, England) - See all my reviews
(VINE VOICE)    (TOP 500 REVIEWER)   
This review is from: Man Of The West [DVD] (DVD)
This very impressive Western based on the long forgotten book "The Border Jumpers" by Will C Brown was made by the respected director Anthony Mann in 1958. This was his penultimate Western with only the forgettable "Cimarron" to come in 1961. Mann was famous for the wonderful series of psychological Westerns he made with his favourite star James Stewart. But the two sadly fell out during the making of "Night Passage" in 1957, and didn't work together again. It is interesting to speculate that Stewart may well have got the Cooper role if he and Mann had still been on good terms. Certainly his practice with angst ridden heroes would have seved him well. But Cooper got the role in the twilight of his career. It was to be his final masterpiece although the same could not be said of Mann who went on to direct that glorious medieval epic "El Cid".

The story concerns an ex outlaw Link Jones played by Cooper who is forced to destroy his former accomplices by the very violence that he had sought to cleanse from his life. It is a deeply harrowing experience and Coopers features showed it. Only a few short years later Cooper was dead of cancer and he already looked like a dying man in this film. Gone was the youthful hero of the thirties. His performance is never less than impressive. Jones is forced to return to the former robbers nest where he grew up, after being left abandoned by the railway following a hold up. He is accompanied by a saloon singer (Julie London) and a tinhorn gambler Sam Beasley (Arthur O'Connell. The gang return led by the psychopathic Doc Tobin played with elan by Lee J Cobb. The other gang members are played by a suspicious John Dehner, a feisty Jack Lord, a wide eyed Royal Dano and that very underrated heavy Robert J Wilke as Poncho. They are all stellar support actors giving stellar performances. It is odd to see Jack Lord away from "Hawaii five O" in an unfamiliar guise. The gang becomes increasingly violent as Jones stalls for time and it leads to a bloody climax.

Make no mistake this is one of the great Westerns. I feel it was the finest film Mann made, which is a very bold claim given his glittering career. Although largely ignored on its release it was noted by that famous film director and critic Jean-Luc Godard who rated it very highly. Who am I to argue with that respected cinematic icon. This is a fine film in any genre which deserves wider acclaim. I can only hope that this minor review will have helped to do that. Highly recommended viewing.
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No


6 of 6 people found the following review helpful
5.0 out of 5 stars "Gary Cooper Series ... Man of the West (1958) ... United Artists", 25 Sept. 2008
By 
J. Lovins "Mr. Jim" (Missouri-USA) - See all my reviews
(TOP 1000 REVIEWER)    (REAL NAME)   
This review is from: Man Of The West [DVD] (DVD)
United Artists presents "MAN OF THE WEST" (1 October 1958) (99 mins/Color) (Dolby digitally remastered) -- Our story line and plot, On his way to hire a schoolteacher, a homesteader (Gary Cooper) is left a hundred miles from anywhere when the train he is on is robbed --- With him are an attractive dancehall girl (Julie London) and an untrustworthy gambler (Arthur O'Connell) and he decides to get shelter nearby from outlaw relatives (Lee J. Cobb) he used to run with --- They don't trust him and he loathes them but they decide he can help them with one last bank job --- The rest of the gang is Robert J. Wilke, Royal Dano, Jack Lord, and John Dehner. Lee J. Cobb is Doc Tobin and though he's 10 years younger than Cooper, he plays his uncle. Along for the ride are fellow train passengers Julie London and Arthur O'Connell --- It's an admirable cast --- Jack Lord as a wild and rebellious killer, John Dehner as a cool but equally violent person, Lee J. Cobb as a filthy old man who was the leader of the gang and who surely was the example for the other gangmembers and Arthur O'Connell and Julie London as the innocent bystanders who Cooper must look out for --- Also thought that the content and violence was very well done to help people get the feeling of what people could be like --- All in all, "Man of the West" is not only one of Cooper's best but one of the best westerns ever --- Anthony Mann's final foray into the western genre is a disturbing examination of man's baser instincts, rising in intensity to the level of Shakespearean tragedy.

Under the production staff of:
Anthony Mann - Director
Walter Mirisch - Producer
Will C. Brown - Book Author
Reginald Rose - Screenwriter
Ernest Haller - Cinematographer
Leigh Harline - Composer (Music Score)
Victor Heerman - Editor
Richard V. Heermance - Editor
Hilyard M. Brown - Production Designer
Edward Boyle - Set Designer
Yvonne Wood - Costume Designer
Jack Solomon - Sound/Sound Designer
Emile LaVigne - Makeup
Richard Moder - First Assistant Director

SPECIAL FEATURES:
BIOS:
1. Gary Cooper (aka: Frank James Cooper)
Date of Birth: 7 May 1901 - Helena, Montana
Date of Death: 13 May 1961 - Beverly Hills, Los Angeles, California

2. Anthony Mann (Director)
Date of Birth: 30 June 1906 - San Diego, California
Date of Death: 29 April 1967 - Berlin, Germany

the cast includes:
Gary Cooper ... Link Jones
Julie London ... Billie Ellis
Lee J. Cobb ... Dock Tobin
Arthur O'Connell ... Sam Beasley
Jack Lord ... Coaley
John Dehner ... Claude
Royal Dano ... Trout
Robert J. Wilke ... Ponch (as Robert Wilke)
Frank Ferguson ... Marshal of Crosscut
Tom London ... Tom, Henry's Friend

Hats off and thanks to Les Adams (collector/guideslines for character identification), Chuck Anderson (Webmaster: The Old Corral/B-Westerns.Com), Boyd Magers (Western Clippings), Bobby J. Copeland (author of "Trail Talk"), Rhonda Lemons (Empire Publishing Inc) and Bob Nareau (author of "The Real Bob Steele") as they have rekindled my interest once again for B-Westerns and Serials --- If you're into the memories of B-Westerns with high drama, this is the one you've been anxiously waiting for --- please stand up and take a bow Western Classics --- all my heroes have been cowboys!

Total Time: 99 mins on DVD ~ United Artists ~ (5/13/2008)
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No


2 of 2 people found the following review helpful
4.0 out of 5 stars Classy western, 4 Mar. 2012
By 
S J Buck (Kent, UK) - See all my reviews
(TOP 500 REVIEWER)    (REAL NAME)   
This review is from: Man Of The West [DVD] (DVD)
I watched this for the first time last night, and wonder how I've never managed to see it before, as this is a superb western, which may even justify 5 stars after another viewing.

Gary Cooper fits the leading role perfectly. The part could have been specially written for him, but it wasn't, yet he makes it his own. He plays Link Jones a reformed man with a violent past who is caught up in a Train heist. There is a stillness to Coopers acting that reminds me of Clint Eastwood, even though in many other ways they are completely different. In fact the cast as a whole are very good. An almost unrecognisable Lee J Cobb is teriffic as Doc Tobim and Julie London does more than add some glamour to proceedings.

Anthony Mann directs with an effortless economy, not a shot is wasted, and this is helped by the fact that the film is only 95mins long. The DVD is in the proper widescreen ratio and the picture quality is good. I can't think of a reason not to buy this, at any price, let alone when its available as cheaply as it is now.
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No


1 of 1 people found the following review helpful
5.0 out of 5 stars Mann's brilliant black revisionist parody of the frontier myth, 9 Feb. 2015
This review is from: Man Of The West [DVD] (DVD)
The Western is a fascinating genre laying out a mythic landscape which can be interpreted in any number of ways. For me, two enduring pre-occupations dominate; first, the celebration of the very creation of the USA as a nation in the past and second, a running commentary on the state of the nation in the present. Anthony Mann's marvelous 1958 Man of the West superbly demonstrates both and demands to be much better known than it is. Over-shadowed by Mann's five wonderful Jimmy Stewart Westerns (Winchester '73, Bend of the River, The Naked Spur, The Man from Laramie and The Far Country), which in turn were also over-shadowed by prestigious `classic' Westerns from the likes of John Ford, Howard Hawks, Fred Zinnemann and George Stevens, the film amounts to Mann's bleakest and most brilliant statement in the genre.

It is a moot point as to exactly when revisionism began in the Western. The usual view has the Vietnam War era and the westerns of Robert Aldrich (Ulzana's Raid) and Sam Peckinpah (Ride the High Country, The Wild Bunch, Pat Garrett and Billy the Kid) as the point that Westerns started to reflect the souring of the American Dream. However, I'd say the revision process started much earlier, evolving gradually from the ashes of World War Two and picking up a real head of steam through the 50s as America fell under the grip of anti-Communist paranoia, McCarthyist witch-hunting, the fear of nuclear apocalypse, and the emerging social disruption of the civil rights movement. For three decades the sound era had presented the Western as a celebration of creation mythology documenting the European colonizers pushing westwards in pursuit of their "Manifest Destiny" to make the USA. The emergence of fascism in Europe resulting in World War Two created a need to present the image of a strong, wonderful `land of the free' which Americans would gladly kill and die for if necessary. The country was (and remains today) as much an ideological construct as a geographical certainty. It is in this light that `classic' Westerns were made, no director doing more to map out the territory than John Ford. He looked at every element of the creation myth starting with the American War of Independence (Guns Along the Mohawk) going down the wagon train (Wagon Master) or the railroad (The Iron Horse) to the wars against the Amerindians (Fort Apache, She Wore a Yellow Ribbon, Rio Grande) and then to frontier Westerns celebrating the founding of civilization in the Wild West where the enemy wasn't so much the Indians, but the unscrupulous members of settler communities and outlaws both in towns and on the range (My Darling Clementine, Stagecoach, 3 Godfathers). Howard Hawks did more than any other to create the cattle drive Western (in Red River) while George Stevens' Shane is probably the clearest iconic statement on the establishment of civilization on the great western frontier.

Perhaps the Western most obviously started to turn sour with Fred Zinnemann's High Noon. Made in 1952 it was a riposte to the McCarthy witch-hunts and a possible allegory on the recent Korean War. The film depicts an America where the people run scared and desert their man (and in effect their country) in his (America's) hour of need. Hawks answered the film's house un-American activities with Rio Bravo in 1959 which has virtually the same story, but with the towns' folk (the American people) uniting behind their sheriff. Without anyone really noticing at the time, in the early 50s Anthony Mann quietly initiated a new stress on psychology into the Western (borrowed from superior film noirs he had directed such as T-Men and Side Street) as he prodded at the various aspects of the genre gently questioning its glorification of America's history with Jimmy Stewart playing lead characters who are all morally ambiguous, outwardly honorable but driven by inner demons. With the character of Link Jones in Reginald Rose's adaptation of Will C. Brown's novel Man of the West, Mann had the luck not only to be incommunicado with Stewart (for whom the film was originally written), but also to cast Gary Cooper (Marshall Kane himself), in what turned out to be a black revisionist parody of not only Cooper's morally upright image, but also the whole classic frontier Western itself.

In many ways Man of the West's key reference point is Shane and this review will be a comparative one in which I'm afraid spoilers are inevitable. In Shane an ex-outlaw gunfighter-turned good rides out of the mountains into civilization to find a homesteader family in trouble. Man of the West opens with another ex-outlaw gunfighter-turned good riding out of the wilderness into civilization. This time he is on a mission to find a school teacher (to bring civilization to) a new settlement named Good Hope. In Shane the title character rides into town to buy supplies for his `new settlement', the Starrett ranch. Shane rides back to the ranch to continue his good work. Link gets on a train bound for Fort Worth to continue his. Notice Shane is never out of his element whether sitting on a horse, driving a carriage or chopping wood. Link is immediately thrown out of his depth by having to go on a train, the very first he's ever seen and which feeds his unease and paranoia (the latter Mann staple brought in from film noir). Remember this is Gary Cooper we are watching here, and his heroic image is undercut from the very moment he gets on the train, money and gun in his bag as opposed to being on his person as it would be if he were riding a horse. The train is eventually held up by a gang of outlaws who steal his bag and with it, his respectability in the eyes of his home community (the money has been collected from everyone to hire a teacher). Left behind with two fellow passenger-signifiers of dubious `civilization', a dodgy card cheat Sam Beasley (Arthur O'Connell) and a singer/whore Billie Ellis (Julie London), Link has to guide them to the nearest shelter he can find before nightfall. Mysteriously, he knows a place and before long dark secrets from his past catch up with him with a vengeance.

Shane's dark past is hinted at from time to time, but it is presented as a necessity the homesteaders need to make use of with no law-enforcement around to protect themselves from the evil Ryker gang. It is also contrasted with the obvious psychosis of Jack Palance's villain and we are never in doubt that Shane is one of the good guys. Contrast this with Link. His face recognized at the station by a wise old lawman, it turns out that the `shelter' he finds is his old home, the place where he was raised by his surrogate father and infamous outlaw, `uncle' Dock Tobin (Lee J. Cobb). Dock still lives there with his four adopted `children' and he welcomes his prodigal son back to the fold. Through Dock's mad banter we learn that Link not only used to be one of his gang of outlaws, but was the meanest, the most violent and the most trusted of them all - Dock's `right arm' no less. Now, the ranch is a very potent symbol for `civilized America' in the frontier western and Shane is greeted warmly by the Starretts, gets to sit down and enjoy their hospitality, Marian obviously attracted to him, Joe grateful to him for helping out with the Rykers and the boy Joey delighting in finding a surrogate father who will show him how to shoot. This is a classic statement of the American dream pure and unadulterated. Contrast this with the Tobin ranch where Link is greeted coldly, witnesses a murder, has to bury the corpse, is forced at knife point to watch his lady companion Billie strip for the on-looking drooling men (the intimation is gang rape), and is forced to tell his surrogate father who taught him how to shoot that he has come back to the paternal fold for good. This scene is extremely long, psychologically complex, distressing, and totally without precedent (as far as I know) in any Western prior to this. Note the Starrett ranch is set on the Wyoming plain in deserted dirt country which emphasizes the warmth inside the building generated by the good honest family. Conversely, the Tobin ranch is set in verdant greenery which highlights the darkness and disease festering inside the lowering house. One `American dream' is pure and unsullied, the other is filthy and polluted, a parodic statement on times a' changing in 50s America perhaps?

In Shane Joe Starrett takes on the role of community leader and is responsible (with a little help from Shane) for stopping any doubters from leaving, intent as he is on founding a settlement. Dock is the exact inverse of Joe. An outlaw intent on disrupting civilization, his mantra for survival revolves around stealing and murder. Turns out his gang held up the train and furthermore are planning to rob a bank in a place called Lassoo. Link and his two companions are forced to accompany the gang across country, a journey from verdant greenery to arid rocky desert. The way character motivation and dramatic development is mirrored and commented upon by the surrounding landscape is a Mann trademark as also shown in the Stewart Westerns. Ernest Haller's cinematography is truly magnificent here, the Technicolor splendor emphasizing the film's inner psychological journey from `Heaven' to `Hell'.

Both Shane and Man of the West feature fist-fights and the way they are handled further develops the parody of the latter film. Shane tunes up a Ryker henchman Calloway (Ben Johnson) in a bar and there follows a melee in which Shane fights the gang and is eventually joined by Joe. They win the brawl and the implication is clear - Shane shows Joe how to fight the Rykers to strengthen the hold on their settlement. To bang the point home further Calloway eventually turns on Ryker, riding to warn Shane of the trap set for Joe, and they even get to shake hands - the impulse towards civilization being unstoppable. In Man of the West, the fist-fight is totally different. Link's inherent savagery is emphasized by Mann depicting him enjoying the friendly fighting between old Dock and one of his `sons'. Link then delightedly proceeds to goad his cousin Coaley (Jack Lord) into a fist fight which he not only wins, but tops off with embarrassing his opponent by stripping him in revenge for Coaley earlier forcing Billie to strip. It is an animalistic, extremely violent homo-erotic scene (Mann showing his touch with close ups of finger nails raking across faces, the fighters banging against whinnying horses and the emphasis on animal bodies writhing in the dust) which shows emphatically that Link has a nasty almost psychotic side which hasn't been fully exorcised by his assumption of civilized airs (his wife and kids waiting for him back home in Good Hope). The implication of the fight is that unlike in Shane, the fighting in this creation myth is a direct expression of animal-like un-civilization, and by Link fighting his `family', he actually becomes the same as them thus making the establishment of civilization impossible.

This last point is firmly made when Lassoo turns out to be a ghost-town, the bank an elusive El Dorado long since closed. Shane is the story of the establishment of civilization on the western frontier and at the end, with the Rykers removed and evil Jack Wilson dead the implication is that a happy united family-oriented America is created out of the struggle with a little help from the mysterious reformed gunslinger Shane. Man of the West is the story of the establishment of a kind of un-civilization with its final showdown of `family members' killing each other in a ghost-town - a symbol for the very America that has been created out of the Tobins' house un-American activities with a little help from the mysterious `reformed' gunslinger/prodigal son Link. It is revealing that even to the last Link's regret at having to sacrifice his `family' is clearly stated. Just as he watches his cousin Claude (John Dehner) die he says ruefully, "It could have been different." Even after Dock has raped Billie, Link wants to `take him in' (to arrest him) rather than kill him. He only kills because Dock forces him to.

With the ghost-town Mann creates an effect not unlike that achieved by John Sturges in The Law and Jack Wade the same year and by Sam Peckinpah in The Deadly Companions (1961). All three films finish in ghost towns which suggest the impermanent transience of American civilization in the late 50s/early 60s. This is beautifully shown by the poisonous members of the `new civilization' (the Tobins / the American people) sweeping into town, exterminating the only inhabitants they find (a Mexican woman perhaps symbolizing the Amerindians of the past and the Koreans / communists of the present), exterminating each other before moving on leaving behind the forlorn survivors (the woman's husband, or is it a decimated Indian civilization, a Korea split in two, victims of McCarthyism?) to lick their wounds. The Korean War had finished in 1953, the first American military personnel had been dispatched to Vietnam in 1955, the Eisenhower Doctrine had been signed in 1957, Russian nuclear tests were on-going, the space race had started, and the Cuban crisis, the Vietnam War and bloody civil rights protests were all just around the corner. Shane rides off at the end with civilization saved with all the `good' settlers making a new community full of promise and hope, but there is no hope or promise in the later film. Link rides off having failed to accomplish what he had set out to do. He was supposed to bring civilization to his town of New Hope in the shape of a teacher. Instead, the film shows him reverting back to old ways, even enjoying them and having to kill again. He is forced to go back to his roots and cut the tie with his `father' for good to recover his money before he has any hope of returning to his family with respect intact. His `teacher' turns out to be a whore (Billie is introduced to Link on the train as a `teacher' and then says she is a `singer', but her red dress and talk of "all the other men" leave us in no doubt who she really is) and he returns to New Hope hopeless, as tarnished as the image of America was in the late 50s in eyes of many.

Man of the West is rich in other themes which feed into the black parody very effectively. Religion is always part of the great civilizing process. In Shane Joe and Marian got married on Independence Day making for an obvious example. Man of the West parodies religion by offering a variation on the return of the prodigal son (Luke 15: 29-30). In the Bible a son returns to the paternal fold having lived years of debauchery. In the film Link returns to debauchery having lived years of law-abiding peace! Furthermore, when a member of the settler community dies in Shane, a church service is arranged and hymns are sung. When a member of the Tobin gang dies, the body is dumped in a hole with no words said at all. It's worth examining the names used in the film. The name `Link' suggests both the link between civilization and un-civilization as well as the umbilical chord connecting the character to his roots. It also refers to the name of the famous American president who did more than any other to create the USA, Abraham LINColn. Link undergoes a journey of (Good) Hope to find (Fort) Worth for his new civilization, but is waylaid after he gets a train (another `link' binding America together) at a place called `Cross Cut' which suggest immediately the link between `hope' and `worth' is going to be cut.

Like all great Westerns, the characters are offered up as archetypes and their meaning extends backwards, in this case through Charles Dickens (Dock as the Fagin of the Wild West taking in orphans and leading them to crime), William Shakespeare (Dock as King Lear going mad while his `sons' - including one back from long exile - squabble over his kingdom) and finally to Greek tragedy, to Sophocles' Oedipus Rex to be precise. On a dramatic level the film could be read as a classic case of hubris - Link as a Western version of Oedipus forced to confront the crimes of his past. Of course mention of Oedipus invokes Siegmund Freud and this western is as Freudian as they come. The film shows he has to face his trauma in a kind of psychotherapy, forced to re-live the past. He had `killed' Dock by leaving him in the past having married into a debauched life of crime (his mother). As in classic psychoanalysis Link exorcises his past by confronting it so as to be free of his psychosis. His major psychosis is of course castration anxiety. Knives play a big part in the drama. Things start going wrong when he gets on the train at `Cross Cut'. His father is named `Dock', the word for castrating animals. His father is a castrator and the son fears being castrated - a point graphically made when he is forced to watch Billie strip, a knife cutting into his throat. He later winds up Coaley with the words, "He's pretty good with a knife..." He all know our dime store Freud and recognize the phallic symbols here - both knives and guns are phallic symbols for the penis just as the color red symbolizes sexual passion as shown throughout the film by the red dress Billie wears. She is presented not as a woman in her own right, but as a sexual fantasy - a visualization of how men (Link included, though he suppresses his desire) WANT to see her. Once we recognize the obvious symbols - the homo-erotic fistfight culminating in Coaley being stripped is stopped by two orgasmic blasts of a gun - we are urged by the film to analyze everything from the meaning of the Tobin ranch to the landscape through which they pass from `fertile' pastures to an `impotent' ghost-town with the final confrontation (on a barren, seedless, rocky mountain slope) particularly suggestive of sexual desiccation.

Make no mistake, Man of the West is an outstanding Western of some psychological depth. The complexities are rendered all the more profound by the story being made so simple. The performances are terrific (especially Cooper and Cobb - you would never guess Cobb was 10 years younger than Cooper for whom this was his last film) and the direction unfussy, to the point (to continue the knife theme!) and deeply effective. I have spent most of this review comparing it to Shane, and I have to admit to liking it a lot more, even if Shane's iconic status cannot be ignored. I find it amazing that the film languishes in some neglect and strongly urge those who haven't seen it to buy this DVD. You don't know what you've been missing!

This Studio Canal release is excellent quality, the picture (aspect ratio 16:9) beautiful and bright and the sound clear. No extras to speak of, but highly recommendable all the same.
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No


1 of 1 people found the following review helpful
4.0 out of 5 stars Another Intelligent Western from Anthony Mann., 15 April 2011
By 
Spike Owen "John Rouse Merriott Chard" (Birmingham, England.) - See all my reviews
(TOP 500 REVIEWER)   
Verified Purchase(What is this?)
This review is from: Man Of The West [DVD] (DVD)
Link Jones is on his way to Fort Worth to hire a schoolteacher, having left his wife and children behind, Link appears to be the epitome of the simple honest man. However, the train he is on is robbed by outlaws, thus meaning that Link's past and his dubious family ties are all careering towards a day of reckoning.

This was Anthony Mann's second to last foray into the Western genre, and perhaps his most clinical as regards a structured tale of men as complicated as they are conflicted? I always find with Mann's Westerns that a sense of doom hangs heavy, there are very few directors in Western cinema history who have this knack of filling the viewer with such a pervading feeling of unease. Here we have Gary Cooper as Link, on the surface an amiable man, but the sequence of events see him thrust back into a life he thought had long since gone, the term that a leopard never changes its spots sits rather well, but here we find Mann fleshing out his lead character with an acknowledgement that a former life has passed, with Cooper perfectly transcending this well scripted arc.

What strikes me mainly about this piece is that Mann's characters are not the quintessential good vs bad characters, these are just men with their own individual hang ups, they all are fallible human beings, and that is something that surely we all can identity with? The acting across the board here is top notch, Cooper is excellent, replacing Mann's stock Western muse, James Stewart, he cements his earthy and identifiable worth wholesale. Lee J. Cobb actually is the glue that holds the film together, his portrayal of Dock Tobin perfectly plays alongside Cooper's emotive showing of Link Jones's confliction. Sadly a negative to me is that we are asked to believe that Gary Cooper is Lee J. Cobb's nephew, a difference of ten years has to be a casting error one feels. Still the film comes highly recommended, the intelligence and dark atmosphere of the piece makes it well worth a viewing, whilst Cooper's two main fights {both different} are seriously great cinema. 8.5/10
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No


1 of 1 people found the following review helpful
5.0 out of 5 stars Mann and Cooper at the top of their game., 5 April 2009
By 
Bob Salter "Captain Spindrift" (Wiltshire, England) - See all my reviews
(VINE VOICE)    (TOP 500 REVIEWER)   
This very impressive Western based on the long forgotten book "The Border Jumpers" by Will C Brown was made by the respected director Anthony Mann in 1958. This was his penultimate Western with only the forgettable "Cimarron" to come in 1961. Mann was famous for the wonderful series of psychological Westerns he made with his favourite star James Stewart. But the two sadly fell out during the making of "Night Passage" in 1957, and didn't work together again. It is interesting to speculate that Stewart may well have got the Cooper role if he and Mann had still been on good terms. Certainly his practice with angst ridden heroes would have seved him well. But Cooper got the role in the twilight of his career. It was to be his final masterpiece although the same could not be said of Mann who went on to direct that glorious medieval epic "El Cid".

The story concerns an ex outlaw Link Jones played by Cooper who is forced to destroy his former accomplices by the very violence that he had sought to cleanse from his life. It is a deeply harrowing experience and Coopers features showed it. Only a few short years later Cooper was dead of cancer and he already looked like a dying man in this film. Gone was the youthful hero of the thirties. His performance is never less than impressive. Jones is forced to return to the former robbers nest where he grew up, after being left abandoned by the railway following a hold up. He is accompanied by a saloon singer (Julie London) and a tinhorn gambler Sam Beasley (Arthur O'Connell. The gang return led by the psychopathic Doc Tobin played with elan by Lee J Cobb. The other gang members are played by a suspicious John Dehner, a feisty Jack Lord, a wide eyed Royal Dano and that very underrated heavy Robert J Wilke as Poncho. They are all stellar support actors giving stellar performances. It is odd to see Jack Lord away from "Hawaii five O" in an unfamiliar guise. The gang becomes increasingly violent as Jones stalls for time and it leads to a bloody climax.

Make no mistake this is one of the great Westerns. I feel it was the finest film Mann made, which is a very bold claim given his glittering career. Although largely ignored on its release it was noted by that famous film director and critic Jean-Luc Godard who rated it very highly. Who am I to argue with that respected cinematic icon. This is a fine film in any genre which deserves wider acclaim. I can only hope that this minor review will have helped to do that. Highly recommended viewing.
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No


5.0 out of 5 stars Shootout in a ghost town, 30 May 2014
By 
GlynLuke (York UK) - See all my reviews
(TOP 100 REVIEWER)   
This review is from: Man Of The West [DVD] (DVD)
Apart from the very different Cimarron, this was the last great western directed, in 1958, by Anthony Mann. Written by Reginald Rose (rather than Borden Chase, who wrote some of Mann`s best westerns) this is a stark yet stylised film of the later days of the old west, with the appearance of trains a vital plot device, as well as providing Gary Cooper (in one of his last and best roles as dapper but visibly ageing Link Jones) with a few amusing moments as the 'man of the west' who hasn`t seen a train before let alone travelled in one.
Naturally, the train gets stopped and robbed of its booty, leaving a motley trio of survivors alone in the near-desert of Nowheresville, Texas: Cooper`s shy-tough Link, fancily-attired goodtime gal Billie Ellis played by singer Julie London at her sultry best, and ingratiating conman Sam Beasley, brilliantly acted by that great supporting player Arthur O`Connell.
They set off together and eventually arrive at an ominously remote shack inhabited by some old friends of Link...
These onetime pals are led by Dock Tobin, who is incarnated by Lee J. Cobb in one of his most courageously outlandish performances. Cobb was ten years younger than Cooper, but plays a man older, like an already mad Lear, with a gutsily manic laugh thrown in. This king`s crown is just waiting to be toppled.
His band of sweaty ne`er-do-wells are played by Jack Lord (superb in a flashily aggressive role), the excellent John Dehner, the inevitable Royal Dano quietly eloquent as a mute with an permanently cocked gun, and nasty-looking Robert Wilke as the greasiest of the lot.
[Slight spoiler ahead]:
There`s a town`s bank to be robbed. The film finishes in a ghost town, in one of the bleakest denouements of any western, the skeletal few buildings affording some interesting camera angles, until Link meets up with the crazed Tobin again, raving on a high bluff...
The whole cast is near-perfect, but the already ill Cooper is very touching in his last great western, a spare and brutal film that has an almost classical poetry of its own. Mann directs with a seriousness not seen so obviously before, and the whole thing lingers in the memory like one of those troubling dreams you can`t quite get rid of.

A great western and a great movie.
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No


4.0 out of 5 stars A bleak story, 8 Mar. 2015
By 
W. Russell - See all my reviews
(REAL NAME)   
Verified Purchase(What is this?)
This review is from: Man Of The West [DVD] (DVD)
A rather bleak Western with an ageing Cooper - it would be much more specifically violent if made today so it is interesting to see how they got round it at the time. There is nothing wrong with the playing, the scenery is stark and handsome, Julie London is lovely, but a barrel of laughs it ain't.
Help other customers find the most helpful reviews 
Was this review helpful to you? Yes No


‹ Previous | 1 2 | Next ›
Most Helpful First | Newest First

This product

Man Of The West [DVD]
Man Of The West [DVD] by Anthony Mann (DVD - 2008)
Used & New from: £15.98
Add to wishlist See buying options
Only search this product's reviews