Shane

Rating:
Summary: Great movie, poor documentary
Review: Let me start by saying the movie alone is 5 stars in my book. Sure, a little corny, but aren't all Westerns?

Anyway, there are enough detailed reviews already here to give a good synopsis of the film itself. I am rating this as a DVD only, and sadly must give it only 3 stars.

The picture quality itself is excellent, and the settings and backdrops in this movie take full advantage of the DVD format. Sound is fine, but not spectacular. Where the DVD falls flat is in the "special features" portion. Unfortunately, George Stevens Jr. (The director's son) and Ivan Moffatt (I'm still not clear on exactly what his role was other than being a friend of George Stevens Sr.) present a rambling, ad-libbed summary that is often irritating in that their descriptions are frequently out of sync with the scene at hand. Ivan Moffatt, in particular, borders on the terrible. His heavy British accent is so thick it's disturbing, considering we're watching an American Western. And his comments are almost inane at times:

Shane: "A gun is a tool Marian, no better or worse than the man using it".

Moffatt comment: "Oh, the NRA would like that".

Marian: "We'd be better off if there were no guns left in this valley".

Moffatt comment: "They wouldn't like that".

Thanks Ivan, for interjecting your own personal (and totally irrelevant) liberal political beliefs in a film review.

More than that, Moffatt and Stevens Jr. are continually harping (almost nostalgically) about how when Stevens returned from the war he had a different view of violence and wanted to portray the dangerous image of the six-gun in the movie (apparently he was peeved at all the youngsters he found running around with cap-guns). So how does Stevens de-glamorize guns? By making them seem louder and more powerful than they really are! (In another ridiculous statement, Moffatt describes the scene where Torrey is pulled backwards by wires when he is shot by Wilson to show the "powerful effect a .45 has" on it's victim. While the technique used is interesting trivia, the common assertion that people are "pushed backwards" by bullets is false, as any ballistics expert will tell you. Alas, this technique has now been copied in dozens of other movies.

My point here is that if George Stevens intended Shane to be an "anti-gun" (or even "anti-violence") film, then I think he failed miserably. After all, even if little Joey is "too young to go loaded", all Joe Starret's problems are ultimately solved by fisticuffs or bullets. Lastly, by rambling on about Steven's pacifistic leanings, Stevens Jr. and Moffatt never really delve into the nuances of the love triangle, which is a major part of the movie.

This is a great film, and you really don't have to listen to the documentary piece anyway, but the "extras" on this DVD don't justify paying full price. If you must have the DVD, wait for a sale.

Rating:
Summary: The Greatest Western Ever Made
Review: Shane is, in my opinion, the greatest Western ever made. Alan Ladd was never better than as Shane, a gunfighter trying to escape from his past as a farm hand working for a beleaguered Van Hefflin, a homesteader who is trying to hold out against the cattlemen who want his land.

Ryker, the leading cattleman, hires Wilson, the gunfighter, who goads the homesteaders into a fight and then guns them down mercilessly. Jack Palance never was more effective or more menacing than as Wilson. Even the dogs knew to avoid him when he passed by. Two great scenes involve first, Elisha Cook, Jr., as a homesteader who is goaded into a showdown with Wilson, and then the final great showndown where Wilson must face Shane. We have been expecting this to happen and we are not disappointed by the confrontation between good and evil where Shane must reluctantly put on his six-shooter and return to being who and what he really is. From this action there is no turning back. It is a defining moment for Shane and a perfect climax for the film.

Everything about this movie is excellent. Each character is perfectly cast, the direction is lean and economical, the actors right on their mark, the story perfectly told, the scenery grand, and the message clear and undeniable. Fight for what you believe in and goodness will win out in the end. This is an America worth preserving. These values are worth saving. This story is worth being told again and again to each new generation of viewers who want to learn what it means to have strength of character and the determination to never, never give up.

Rating:
Summary: "I heard you're a low down Yankee LIAR".
Review: Greatest western ever made..."Tombstone" second.

Rating:
Summary: SHANE TOP WESTERN EVER FILMED
Review: Of all the injustices in this world, Shane debuted the same year that From Here to Eternity was released. Of course the latter scooped most of the Academy awards for 1953, and in my opinion only because westerns don't garner as wide an audience. Shane was meticulously researched , scripted and directed. Every performance was flawless, and Brandon De Wilde being denied best supporting actor is an absolute crime.
The film immediately grabs the viewer when the Ryker crew intimidates Joe Starrett who is then joined by Shane. The underlying stuggles of right and wrong, even Shane's attraction to Mrs. Starrett only add to the emotional human drama. My wife, a devout Western hater , absolutely loved Shane and the tear meter was flowing at the end when Shane leaves the valley with Little Joey calling for him to return. This movie is without doubt a top 10 ever made. Recent releases like Titanic although well done lack the human drama and connection that Shane makes with the viewer.
My only gripe with the DVD version is the editing out of the last dialogue of the movie as Shane goes over the mountain and little Joey crying out " Bye Shane" . Why the studio did this is a complete mystery . Otherwise this movie is a masterpiece on DVD with clear crisp video images and very good sound.

Rating:
Summary: He has come back ... in grand style.
Review: Sam Peckinpaugh, who directed "The Wild Bunch" and "Ride the High Country" among several other westerns, credited "Shane" as an influence on his career. Director George Stevens originally envisioned Montgomery Clift in the title role, William Holden as Joe Starrett, and Katherine Hepburn as Starrett's wife. Those are among the stories told by the director's son, George Stevens Jr., during an interesting commentary track (also featuring associate producer Ivan Moffat) on this long-awaited DVD version of this film classic. "Shane" is on most people's short lists of the best westerns ever filmed. This DVD transfer will not disappoint, although I believe the movie was originally released in a wide screen format and here it is standard frame. It is not made clear if the theater release was a matted version of this full frame, or if we are losing some of the picture here. Still, the vistas of the Grand Teton mountain range are beautiful and there is more sharpness in the picture than in the VHS version. The sound, mostly confined to the front center channel, is adequate considering this is a 1953 film. This story of the aging gunfighter, Shane, who takes part in the struggle of the homesteaders' fight with a headstrong cattleman can be enjoyed on many levels. Beautifully filmed, beautifully written, beautifully acted, this film deserves the praised heaped upon it for years. And Paramount, at the time, didn't have any idea the quality of film it had. That, too, is mentioned in the commentary, which isn't overwhelming when compared to talk on other DVDs, but it is quite entertaining. "Shane" on DVD is worth the price.

Rating:
Summary: A masterpiece of filmmaking
Review: Often mentioned as one of the greatest westerns ever, it is easy to see why. This film stands as a masterpiece of the art, even more so since it was filmed so long ago. It starts with a great story, the story of Shane (Alan Ladd), a quiet gunslinger who is trying to escape his past and befriends a pioneer family that has settled out west. He attempts to settle down and become a hired hand to Joe Starrett (Van Heflin) and his wife Marian (Jean Arthur), but the ranchers who need to drive cattle through the homesteaders' property are attempting to drive them out. Shane tries to stay out of the disputes, but keeps being drawn in and is finally compelled to put his six shooter back on when the ranchers hire Jack Wilson (Jack Palance) a noted gunfighter to intimidate the farmers.

This story is outstanding in so many ways. It is a classic battle of good and evil. It has its share of fist fights and shoot outs, but this film is more about principles than action. It exemplifies principles and values that unfortunately have become outdated in today's society such as, character, integrity, loyalty, pride in accomplishment, persistence and the willingness to fight for what is right. It is also an excellent human interest story and succeeds in getting the viewer to love the homesteaders and hate the ranchers.

George Stevens directed this film late in a notable career and does a splendid job. The locations were breathtaking, shot with majestic mountains in the background of almost every scene. The cinematography was stunning, and the color rich despite the fact that it was filmed almost 50 years ago.

The acting was superlative. Van Heflin wins us over almost immediately with his high minded principles and unshakeable character. He actually has far more lines than Ladd, who was more of an icon of strength than a vocal character. Jack Palance is the archetypal western villain and went on in his career to become the most prominent and enduring villain in movie history. His sneering arrogance and haughty gait made him the villain we loved to hate for decades.

Elisha Cook, as Stonewall Torrey, had a prolific career as a supporting actor, with over 150 appearances in film an TV that spanned almost 60 years. This is one of his best an most memorable roles as a fearless, proud and petulant former confederate that gets goaded into a gunfight with Jack Palance.

Brandon DeWilde as young Joey, gave a compelling performance. One of the best scenes in the movie was when he asked Shane to shoot at a small rock and Shane shot it 5 or 6 times and hit it every time. The wide eyed look of surprise was terrific. Though he went on to do about a dozen mostly minor films, he was never able to capitalize on his success in this role.

Finally, there is Alan Ladd. I've often heard criticisms of his performance of being too low key. I could not disagree more. His understated performance made him loom large as an imposing figure in the film. It created an almost godlike presence. This strong silent portrayal is very attractive adding humility to his many positive qualities. This unassuming style is also what made Gary Cooper so popular.

This film is on my top fifty list of all time. It is a magnum opus that the film industry can be proud of. It combines great filmmaking, direction and acting with a memorable and morally instructive story. This should be required viewing for any serious film buff. A perfect 10.

Rating:
Summary: BEYOND GOOD AND EVIL:THE ONLY ADULT WESTERN--SHANE!!!
Review: "Shane! You hit him with your gun! I hate you, Shane!"
--Brandon DeWilde as Joey Starrett to Alan Ladd in SHANE.

SHANE is a beautiful movie. The photography is beautiful. The music is beautiful. The stars--Alan Ladd, Van Heflin, Jean Arthur, Brandon DeWilde, and Jack Palance are terrific and the character actors--like Ben Johnson, Edgar Buchanan--later a star of tv's PETTICOAT JUNCTION--and Elisha Cook, Jr.--briefly much later in his life in THE NIGHT STALKER--are fantastic. The sets and the script make you feel like you're living in the Wild West of the 1800s.

But even though a lot of reviewers say SHANE is a battle between good and evil, it's just the opposite:Director George Stevens shows people in situations where you can't clearly define what's right or wrong:SHANE's villains were settlers, the good guys are settlers. Jean Arthur is a frontier woman happily married to Van Heflin as Joe Starrett, yet suddenly she falls in love with Shane. As the movie approaches its POINT OF NO RETURN, Shane ends a fistfight with Joe Starrett by hitting Starrett on the head with his gun--with Brandon DeWilde as Starret's son Joey watching--leading to the finale where Jack Palance as Jack Wilson is a gunfighter, and Shane is a gunfighter.

BEYOND GOOD AND EVIL:THE ONLY ADULT WESTERN EVER MADE--SHANE!!!

Chari Krishnan RESEARCHKING

Rating:
Summary: Oh, puh-leeeeze!
Review: If this is the best western ever, then it's a pretty sorry genre. Might as well get the few good points covered first--the scenery, the fights, a couple of scenes that manage a bit of convincing realism--the funeral (despite the corny sentimentality of the dog pawing the coffin), the attempt at some depth of character in the bad-guy rancher about halfway through the movie. That's about it. As for the badd, shall we start with Ladd? He and all the actors talk like they're in a semi-coma. Was this a borrowing from the 50's fad for method acting? And how in the world could that dull little kid have been nominated for an oscar??? Jean Arthur was 50+ and her sqwuaky voice betrays her age, not to mention that awful wig she's wearing (I hope it is a wig!) The subtext of the movie seems to be a case of man/boy love between Ladd and DeWilde (interesting name) and if viewed that way is at least worth a few laughs. Horrible music (loved the borrowing from Stravinsky's Rite of Spring as Shane rides into town at the end!) that tries to manipulate our emotions, stereotypes everywhere, everywhere. Oh, why bother? It's awful, dreadful, miserable. The "lowdown Yankee liar" line put the final nail in the coffin, the last piece of lead in the gunslinger for this hater of westerns generally and this one specifically.

Rating:
Summary: BEYOND GOOD AND EVIL:THE ONLY ADULT WESTERN--SHANE!!!
Review: "Shane! You hit him with your gun! I hate you, Shane!"
--Brandon DeWilde as Joey Starrett to Alan Ladd in SHANE.

SHANE is a beautiful movie. The photography is beautiful. The music is beautiful. The stars--Alan Ladd, Van Heflin, Jean Arthur, Brandon DeWilde, and Jack Palance are terrific and the character actors--like Ben Johnson, Edgar Buchanan--later a star of tv's PETTICOAT JUNCTION--and Elisha Cook, Jr.--briefly much later in his life in THE NIGHT STALKER--are fantastic. The sets and the script make you feel like you're living in the Wild West of the 1800s.

But even though a lot of reviewers say SHANE is a battle between good and evil, it's just the opposite:Director George Stevens shows people in situations where you can't clearly define what's right or wrong:SHANE's villains were settlers, the good guys are settlers. Jean Arthur is a frontier woman happily married to Van Heflin as Joe Starrett, yet suddenly she falls in love with Shane. As the movie approaches its POINT OF NO RETURN, Shane ends a fistfight with Joe Starrett by hitting Starrett on the head with his gun--with Brandon DeWilde as Starret's son Joey watching--leading to the finale where Jack Palance as Jack Wilson is a gunfighter, and Shane is a gunfighter.

BEYOND GOOD AND EVIL:THE ONLY ADULT WESTERN EVER MADE--SHANE!!!

Chari Krishnan RESEARCHKING

Rating:
Summary: What a Difference a Director Makes!
Review: Please regard this as a postscript to the many fine reviews of this mastepiece.

Alan Ladd was one of those great actors who might have been. Ladd's deadpan persona, which some have criticized as wooden, was the essential element in the suppressed emotion which would serve him so well in his greatest role, that of Shane.

In following Ladd's filmography, it's fascinating to see how the quality of his work is related to the complexity of the character he plays. The more complex, it seems, the better Ladd's performance. And of course, the enigma of Shane, the character's inherent complexity, lends itself perfectly to Ladd's talents.

Sue Carol, Alan Ladd's wife and agent, didn't care for directors, preferring the actor-as-producer rather than director. While this "business approach" contributed to great wealth and influence for the Ladd dynasty, it did not lend itself to the artistic achievements of which Ladd was capable. Whether this was of concern to Alan can only be conjectured.

However, one thing is certain, when Ladd was given a strong director, such as Raoul Walsh, Michael Curtiz, Edward Dmytryk or George Stevens for Shane, the results were dramatic. What may have been his finest performance was also his last, in Dmytryk's The Carpetbaqggers. As the enigmatic Nevada Smith, was Alan Ladd replaying Shane?