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Movie Title: Forty Guns Forty Guns is available for streaming or downloading. |
Movie: ***** DVD Transfer: ****1/2 Extras: ****
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Barbara Stanwyck is rougher than rawhide as Jessica Drummond, the high-riding “Woman With a Whip” (the film’s pre-production title) in writer-producer-director Sam Fuller’s movie about the female ruler of rugged Cochise County, Arizona. Armed with determination, wiles, and a savage lash, Drummond has firm control over the territory … and she’s backed up by a gang of forty sharp-shooting killers who follow her orders without inquire. Everything’s going her intention until a broken-down gunslinger turned marshal (Barry Sullivan) arrives with his two brothers and begins to chip away at Drummond’s power by attempting to restore law and order to the territory. Soon enough the lady and the lawman are engaged in a deadly battle of equals that will eventually engulf the entire community.
It’s hard to maintain that “Forty Guns” proved to be Stanwyck’s last great shroud appearance for five long years, a period in which she didn’t invent films because, in her acquire words, “no one asked me.” Her performance is simply amazing, and superbly nuanced: her train and physical bearing communicate all too clearly that Jessica is not a woman to be trifled with. Stanwyck’s triumph is even more complete when one realizes that the fifty-year-old actress performed all her believe stunts in the film — including being dragged by a horse during a harrowing tornado sequence! The rest of the cast is edifying throughout: Sullivan pulls off the difficult task of matching Stanwyck’s energy without attempting to recall scenes; and nice work is also turned in by supporting players Gene Barry, John Ericson, and Dean Jagger. However, this is Stanwyck’s movie all the way; her presence infuses every scene, even when she’s off-camera.
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The DVD presentation of this film is a credit to 20th Century-Fox Home Video. Both widescreen (Cinemascope) and pan-and-scan versions are included on the disc, and although it’s not mentioned on the packaging, the DVD also includes the film’s Recent Theatrical Trailer. Characterize and sound quality are suited throughout … even the trailer is beautifully transferred. Overall, this is a exquisite release of a rarely screened film, enthusiastically recommended for fans of Samuel Fuller, Barbara Stanwyck, and the Western genre.
The imminent release of this 1957 DVD is well worth waiting for especially in showing the fim in its unique widescreen format. FORTY GUNS is a creative Fuller reworking of the western genre turning stereotypes on their heads, revealing the raw emotionalism and insecurity affecting various characters, and containing luminous examples of crane and tracking shots representing key elements of this cinematic genius.
FORRTY GUNS has received expedient considerable comment in the past. But what is most essential in this film is the reworking of previous westerns such as THE GUNFIGHT AT THE O.K CORRAL and THE FURIES into a Fulleresque cinematic battleground. The Bonnell brothers (led by Barry Sullivan now reluctant to end) are reworked versions of the Earpps while Barbara Stanwyck’s sexually assertive Jessica Drummond is Fuller’s masculinized version of Vance Jeffords from Anthony Mann’s THE FURIES and her previous “Cattle Queen of Montana.” Stanwyck, of course, personified the strong woman on cloak in the pre-feminist era and this is one of her best performances. In this film, all conventions are overturned resulting in one of the most iconoclastic endings ever to appear in a Western. I will not spoil it for those who have not seen it but merely point out that Fuller directs the studio’s “official climax” in a deliberately extraordinary manner. This is one of the best westerns of its kind directed by one of the major artists of Hollywood cinema. Cliches are absent and Stanwyck’s character represents one of the most wonderful inversions of classical Hollywood gender stereotypes ever to appear outside “film noir.”
Companies should now follow Criterion’s DVD release of Acquire UP ON SOUTH STREET (1952) by releasing restored widescreen versions of Fuller’s early Vietnam War entry CHINA GATE (1957) and MERRILL’S MARAUDERS (1961) . In this original age of Hollywood creative bankruptcy, a return to the legacy of one of its greatest exponents is long overdue.
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