Ride
Lonesome
1959
Director: Budd Boetticher
Starring: Randolph Scott, Pernell
Roberts, Karen Steele
Ugh. Westerns.
Up to this point, the westerns that I’ve written about have had
something a little special going for them, something to make me like them
despite my protestations that I’m not a big fan of the genre. Goodness me, it was starting to sound as if I
actually *enjoyed* westerns. And then I
decided to watch Ride Lonesome for a second time in order to write about
it. And then I remembered just how much
“typical” westerns don’t work for me.
Ben
Brigade (Scott) is a bounty hunter who opens the film by capturing smarmy
criminal Billy John (James Best). But
Billy John has a brother (Lee van Cleef) who doesn’t want to see him hang, and
Brigade knows the clock is ticking on getting Billy to Santa Cruz. Along the way he picks up a Marilyn Monroe
lookalike who sulks, pouts, and wields a shotgun (Steele) and a pair of fun
frenemies in Boone (Roberts) and Whit (James Coburn) who want to take Billy
from Brigade in order to collect the bounty – and the amnesty that comes with
it – themselves.
From
a critical standpoint, Ride Lonesome is, at first glance, very
classic Western with a capital W. Our
hero struts about with his chest thrust out (wearing a tasseled shirt,
nonetheless) while speaking little.
Indians randomly come and attack our band every now and then for utterly
no reason (other than the whole “stole your land, infected your people”
thing). The token female looks
unnaturally clean for living in the middle of nowhere and goes through the
classic “I hate you… no wait I love you!”attitude change towards our hero. The night scenes are even shot day for night,
something I’ve always found jarring (really, does the moon cast a shadow THAT
dark?). There are shoot-outs aplenty,
runaway carriages, and classic fifties dialogue like “That tears it!” Oh yes sir, this is most definitely Classic
Western.
And
yet, I will give Ride Lonesome its due and say that it has a few novelties in
term of character development and setting that made me understand how it could
help bridge the gap between the westerns that predated it and the Leone-esque
westerns that followed. For one, I love
that Ride
Lonesome wasn’t filmed in Monument Valley. Instead, we have a much more varied landscape
than I would expect in a fifties western.
Interesting rock formation, distant mountain ranges, bleached white
desert sand, and sparse, arid forests are the backdrops for Ride Lonesome. I can see how Sergio Leone would have seen
this and preferred this style of location over the earlier westerns that can’t
seem to think past Monument Valley.
The
team of Boone and Whit is fun in terms of never really knowing what they’re up
to. Are they helping Brigade? Are they going to kill him? Their cheerful, morbid banter certainly gives
the film a little bit of sorely lacking spice.
And Billy John is likeable in his ridiculous smarminess – he’s a bad guy
you want to see get his due, but you also don’t mind him being a constant
needle in Brigade’s side.
But
that’s about all I can say about Ride Lonesome that’s good, and it
was hard for me to come up with that much.
At 73 minutes, this is definitely a short feature film but holy crap it
felt four times longer to me. I had
pause it at least three time to take breaks to do other things, that’s how
incapable I was at making it through the film in one go. And that’s sad. Absolute, utter tedium. The fun with Boone and Whit is good, but it’s
not nearly enough to get me through the soporific rest of the movie. I got bored about ten minutes in and started
checking my email. Then making
lunch. Then playing with my cats. Then grabbing my copy of 1001 Movies
to read just why I was watching this movie, because I’m a bit flabbergasted at
the moment.
How
Randolph Scott became a western star is beyond me, because the drive-thru
attendant at McDonald’s speaks with more passion and feeling than him. It’s laughable how monotone he is. Every single line, EVERY SINGLE LINE, is
delivered with the exact same vocal inflection.
And he has only one facial expression.
He looks stern for the entire film and spits out his lines with slow
deadpan diction. I thought Hayden
Christensen was wooden in Star Wars Episode II: Attack of the Clones,
but jesus christ, Scott makes Christensen look like Laurence Olivier, what with
his emotional range of absolute nil. It
doesn’t help matters that he was getting a bit long in the tooth by the time he
filmed this one (he was 61 in 1959) and the “love interest” between him and the
little piece of very much younger cheesecake felt absolutely ridiculous and
completely forced.
And
the story is hardly cohesive. Ride
Lonesome suffers from a distinct lack of central tension. It’s as if the film can’t make up its mind –
is it going to focus on the apparent war between our gang of heroes and the
Indians? For twenty minutes or so, that
seems to be it. Yeah yeah, Indian wars,
yeah, that’s what this movie is all about.
But then, NOPE NO MORE INJUNS!
WE’RE DONE WITH THEM! Okay, what
about the conflict between Brigade and Boone?
After all, Boone wants to take Billy in himself. Oh yeah, we should come back to that and keep
having Boone make these rather random death threats against Brigade. Yep, THAT’S our central tension. Oh wait, no… no it’s not. Darn it, we forgot about Billy’s brother, the
guy who’s supposedly tracking Brigade down in order to free his brother. Forget all that other stuff, THAT’S the main
point of the plot. That’s what we’ve
been building towards throughout the film even though we only just remembered
to mention it about twenty minutes out from the end.
I
don’t even know. And frankly, I don’t
care.
There
are westerns I like, really there are.
But Ride Lonesome is very, VERY much not one of them.
Arbitrary
Rating: 4/10. The central music motif is
nice, if not rather derivative of the Grand Canyon Suite.
