The Ox Bow Incident (Wellman, 1943)

[jesus the mexican boi]

This thread will be shut down soon, but before it is, may I direct your attention to the Budd Boetticher canon of Randolph Scott westerns?

Let us go then, you and I.

Seven Men from Now (1956) -- 78 minutes
The Tall T (1957) -- 78 minutes
Decision at Sundown (1957) -- 77 minutes
Buchanan Rides Alone (1958) -- 78 minutes
Westbound (1959) -- 72 minutes
Ride Lonesome (1959) -- 73 minutes
Comanche Station (1960) -- 74 minutes

Enjoy.

[aox]

This is a wonderful film. Great examination of the western justice system and why it is in place.

[Polybius]

Probably Andrews' greatest performance, aside from maybe Laura, and one of the bedrocks of Fonda's Decent Guy persona. You have to be one hardened cynic not to appreciate the scene in the bar where Fonda's character reads the letter Dana's character wrote to his wife aloud, while many of the men who helped murder him stand around and listen.

Off of jesus' list, I can only comment on The Tall T, which I found quite entertaining. Starting with an Elmore Leonard story is always a good move and casting Richard Boone is another.

Some background info.

[HarryLong]

You have to be one hardened cynic not to appreciate the scene in the bar where Fonda's character reads the letter Dana's character wrote to his wife aloud, while many of the men who helped murder him stand around and listen.

And the genius of this scene (if I'm remembering it correctly) is that Wellman has Fonda's hat hiding much of his face - his eyes certainly - forcing the viewer to confront his/her own emotions rather than experience them vicariously through Fonda's character.
Wellman is often listed among the great directors, but I'm always astonished whener I look at his CV and see how many films are on that I think are terrific.

[PillowRock]

Wellman has Fonda's hat hiding much of his face - his eyes certainly

Actually it is Harry Morgan's hat brim that blocks our view of Fonda's eyes / upper face.

It's a very precise staging and framing of the shot.

[Sloper]

And the genius of this scene (if I'm remembering it correctly) is that Wellman has Fonda's hat hiding much of his face - his eyes certainly - forcing the viewer to confront his/her own emotions rather than experience them vicariously through Fonda's character.

I think it's someone else's hat, actually (don't have my copy to hand). But yes, a remarkable shot. Some criticise that scene for being overly sentimental/preachy, but I think what comes before is sufficiently powerful to earn a payoff like this. EDIT: I see PillowRock got here first.

What I particularly remember about this film is how well drawn all the peripheral characters are, as in another great western, The Gunfighter. It's really a great ensemble piece, with a very large ensemble considering it's so short. Noiretirc, I think this is the point of the girlfriend coming back: it gives us some background as to why Fonda seems so depressed and angry at the start, and it's these little details of characterisation that really make the film work.

The scenes when the posse is assembling are genuinely scary, as of course is the horrifying climax. I also love how Fonda and his companion are characterised as jaded, less than heroic, outraged by the unfolding events but unable even to protest against them. Fonda is at his most interesting playing parts like this; I think I read somewhere (proabably on this forum) that this, along with The Grapes of Wrath, was his favourite role.

I agree about Andrews; also a great turn from Anthony Quinn; and a really malevolent one (if memory serves) from Jane Darwell. 'Can't nobody lick us, Pa - we're the people' has a whole new meaning in this film...