Movie review - Ladd #25 - "Shane" (1953) ***1/2

Sociologists of the future seeking to understand baby boomers could do worse than to look at the character of Joey, played by Brandon de Wilde in this classic Western. Joey hero-worships Shane, a relationship which makes this movie so loved, basically dumping his hard working decent father for him the moment he rides into town.

But Joey's love isn't unconditional - he's always asking Shane questions, nagging him to do things, being a blood-thirsty little pain ("You wouldn't be a coward, would you?" "You'd beat him up wouldn't you?"). When Shane rides off into the distance you don't feel really sad, because Joey hasn't been particularly nice or fun for Shane to be around - you get the impression Shane will be glad for peace and quiet. It doesn't help that de Wilde, whose performance was widely admired at the time, actually acts like a stunned mullet through the film. Joey is your classic boomer - spoilt, never satisfied, always looking for something better on the horizon, resents his parents.

OK, I'm being mean. There is much to admire in the Western, most of all the beautifully constructed shots - although, like other George Stevens movies from this decade, every now and then you can't help mutter "stop it with the beautifully constructed shots, George, and just get on with it" (for instance that final ride into town seems to take forever).

There are some terrific scenes: my favourite are Shane's confrontations with Ben Johnson in the bar, one where he walks away another where he fights him (these are terrifically tense), all the moments with Jack Palance (in a star making turn - NB like a few movie in the 50s such as The Proud Rebel this has the baddy make really nasty anti-Southern slurs - it wasn't until another decade that Hollywood would turn on the south). The use of loud sounds for gunfire became deservedly famous, as did Elisha Cook Jnr's funeral scene with the dog scraping at the coffin (you realise how life is normally so cheap in a Hollywood film - it's lovely that here they give it weight).

Alan Ladd's acting has copped it a lot over the years. He wasn't the best actor in the world but he had presence and Stevens helps him brilliantly. I wondered, could any star have played this role? I think a lot could have (I remember my old English teacher at school said Charles Bronson would have been and I agree - but in the late 60s or 70s not in 1953). Ladd does bring a stillness, and an inherent sense of sadness that he carried with him that totally suits the character. He is also very warm in his moments with de Wilde (probably because Ladd had children around de Wilde's age).

The best performance, though (and this surprised me) was Van Heflin, who carries the "reality" of the film. His farmer is a decent man, hard working, brave, loyal, etc - but when push comes to shove he simply lacks glamour, which Shane has (and Heflin didn't have, so he is perfectly cast). His relationship with Shane is moving - both men admire each other, and although Heflin knows his wife and kid prefer Shane in some way, he doesn't resent Shane. Jean Arthur is strong as the wife - her attraction to Shane is done very subtly and well. Emile Myer is electric as the bitter Ryker - although he's a villain, he's a three dimensional one and is given this great speech where he talks about his history (Ben Johnson also gets a chance to have a bit of lightness and shade).

These sort of films always raise issues on the questions of violence. While it supports the "violence is not the way" argument, it does glamorise the superhero like Shane, who can take on anyone, who everyone love, and so makes violence attractive. (Even Van Heflin is shown to be a tough guy.) Its a film of clear quality but didn't have the emotional impact it obviously does for other (maybe you have to see it as a young boy or with your son).