Duel in the Sun Review At Amazon.
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Duel in the Sun Review At Amazon..
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Sweeping! Graceful! Corny! Romantic! A west that never existed is splashed across the hide as only David O. Selznick, the master of such huge Hollywood classics as “Gone With the Wind”, “Since You Went Away” and “Rebecca” could give us.
This is not the revisionists west of the 1990’s, nor that West of the gritty operatic glamour of Sergio Leone’s “Once Upon A Time In The West.” You will not accumulate the spare well-organized and lean beauty of John ford’s West. What we have here is the chronicle telling on a camouflage that screams to be stretched into widescreen and spills out over the audenience the lush and romantic horse Opera of Pearl Chavez, the McCanles clan and the coming of the railroads in the 1880’s.
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From the moment the overture replete with unneeded narration begins you know you are in for a melodrama of purple emotions and blood red vendettas. The opening scene is position in a saloon on a scale of a original Vegas casino. There amidst the wild gunfire of overheated cowboys and insanely spinning faro wheels we are introduced to the Scarlett O’Hara of the West, half-breed Pearl Chavez. As played by Jennifer Jones she is honest about the hottest tamale to ever hit the pages of a screenplay expressly written to drive men inflamed, turn brother against brother and defy a “Sinkiller”. What Jane Russell was supposed to be in “The Outlaw” we net in Technicolor spades in the get of Miss Jones.
She takes tall hefty bites of the massive sets and chews them to a fare thee well and in the process creates a wanton nymphomaniacal character of such charm, heat and passion that she is truly a motion relate current. This is the best thing Miss Jones ever did because it is so out of control and beyond the pale of her more subdued performances. Of saints, teenage war brides and ghosts of lost appreciate.
As Lewt McCanles we score the hottest, meanest, most excitingly inappropriate performance Gregory Peck ever was allowed to give. And what an irresistible abominable boy he is. He was never sexier or more astounding than in this departure from the Peck norm.
Even the usually plain Joseph Cotton manages to rise above his typically dry rolls, but not too powerful, in the thankless roll of the honorable brother. He seems a tiny too stale for the share and a minute too polished. Someone like Charlton Heston might have been more on the place.
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Lillian Gish steals every scene she is in with quite assuredness and only finds completion from the ever-prissy Butterfly McQueen. In her final scene with Lionel Barrymore Miss Gish makes off with the scene so quitly that you are hit with it’s impact only after the fact. Barrymore creates one of his most beloved curmudgeons as Senator Jackson McCanles stout of sound and furry and ultimately signifying less than nothing. His introduction to Pearl topped by a sneeringly homely racial slur that encapsulates his character and time and status.
Another highlight is the cameo by Walter Huston as “The Sinkiller”. What can be said of him is only this, pure cinematic magic.
The film unfold with such a sense of grandeur and dread that it sweeps you along to its amazing ending on the wings of story pure camp poetry. The Dimitri Tiomkin gather is a masterpiece and distinguished well-known over the years for the wonderful call of the bells plot allotment.
The three cinematographers eager, Hal Rosson, Ray Rennahan, and Lee Garmes paint movie memory after memory with the palate of hot dusty hues that have long been forgotten by audiences of today. To survey it now is perhaps more lively and thrilling than it was in 1947.
All of this enraged mixture of melodrama, mush and music was orchestrated by the master showman of his time, the ultimate huckster of smoke and mirrors and consummate barometer for unbiased what we wanted in our early epics of the America that never existed, David O. Selznick, who added the “O” to his name fair because it looked better on the marquee. When they say that off heard lament “They don’t make’um like they ancient to.” Both Mr. Selznick and “Duel In The Sun” are what they are talking about. If they detached made them like this then something would be terribly foul. Thank god they did accomplish films like this once upon a time and we unexcited have them to lose ourselves in a dream of what never was and what will never be again.
This first-time-ever release of the recent Roadshow Version of DUEL IN THE SUN is definitive both as to length and features as well as to its comely modern gawk. The Overture and Exit music, by the sizable Dimitri Tiomkin, prepares the viewer for this overblown, extravagant, and overlength Western. The narration during the Overture places the film in its historical context, and foreshadows the filmmakers’ concerns with the Production Code Administration of the day. This film wasn’t known as “Lust in the Dust” for nothing.
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That this film is overdone in almost every respect shouldn’t for one runt discourage the prefer of DUEL. Its huge cast–including a surprisingly atypical performance by the mammoth Walter Huston as the “sin killer” preacher–is well worth seeing. While the film is overlong, the costly restoration work that has gone into this edition makes it a visual treat that, for the first time, accurately reveals the high standard of craftsmanship insisted on by its producer David O. Selznick. The colors are so gripping and lawful that they seem to jump out from the cloak. If you are a fan of this film–as something of a “guilty pleasure”–you’ll throw away the previous video release of this film with gusto. There is absolutely no comparison whatsoever. The 5-star rating is primarily for how resplendent it looks than for the record itself. This is what enormous Technicolor could do during Hollywood’s Golden Age. The trailers, also included in this edition, gain this a big package.
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