WARLOCK (1959) was the final entry in the roster of splendid Cinemascope/color westerns that 20th Century produced in the fifties. With a star studded cast headed by Richard Widmark, Henry Fonda, Anthony Quinn and Dorothy Malone this project was produced and directed by Edward Dymtryk. The excellent screenplay by Robert Alan Aurthur derived from a novel by Oakley Hall and the superb cinematography was by the great Joe MacDonald.
Warlock, a small mining town in the west, is plagued by the unruly and lawless cowhands from the San Pablo ranch who wreak havoc every weekend on the hapless citizens. The gang have just run the current Sheriff (Walter Coy) out of town and the impatient town council have now decided enough is enough. They make the decision to hire a gunfighter - an expensive gunfighter. So along comes a famous Marshall by the name of Clay Blaisedell (Henry Fonda) and his friend and bodyguard Tom Morgan (Anthony Quinn) to take on the job. He also brings along his portable gambling casino complete with the shopfront hoarding naming his gaming saloon "The French Palace". (He explains to the council "What you pay me for keeping the law would hardly keep me in ammunition for my gun practice - gambling is my business - it's how I make my living"). But through one difference or another and having to outdraw and kill his friend Tom Morgan and set his gambling saloon alight the town eventually sours against the Marshall. The now reformed gang member and newly appointed Deputy Sheriff Johnny Gannon (Richard Widmark) tells Blaisedell he'll have to leave town by morning. The picture ends with Gannon confronting Blaisedall the next day with the gunman easily outdrawing him. But surprisingly the Marshall capitulates and tosses his gold handled six-guns into the street to the visibly shocked Deputy's relief. Then with a wry smile to Gannon the colourful gunfighter mounts his horse and rides on out of town forever.
Performances are generally excellent throughout! Although Widmark has top billing it is clearly Fonda's picture. His Clay Blaisedell is the film's pivotal personality. As the well dressed gunfighter he is cool, smooth and lightning fast on the draw - as one challenger (DeForest Kelly) finds out to his utter astonishment in one gripping scene. Fonda hasn't been this good in a western since his superb portrayal in "The Tin Star" two years previously. Good too is Quinn in a really meaty characterization as Blaisedell's neurotic, over-protective and club- footed bodyguard. Also effective is Tom Drake as the Pabloite gang leader but Dorothy Malone is quite irritating and gives her usual breathless overwrought and over played portrayal of an old flame of Blaisedell. Better, and prettier to look at too, is Dolores Michaels as his newer love interest.
Underlining this engaging western is the music of Leigh Harline. The composer had worked before with director Dmytryk on the excellent "Broken Lance" (1954) which elicited from him his best score. Here his music is just as dramatic. The music under the titles is robust and determined featuring strident strings against repeating and striking brass figures pointing up the menace of the errant San Pablo gang. There is some tender music for the scenes with Fonda and Michaels and a reflective lyrical cue for Blaisedell himself which is wonderfully uplifting for the end scene as he rides out of town.
WARLOCK is a good western and warrants repeated viewings. A well structured character driven drama set in an engaging western environment and well played by an equally engaging cast in what is yet another memorable movie from the cinema of yesteryear.
Warlock, a small mining town in the west, is plagued by the unruly and lawless cowhands from the San Pablo ranch who wreak havoc every weekend on the hapless citizens. The gang have just run the current Sheriff (Walter Coy) out of town and the impatient town council have now decided enough is enough. They make the decision to hire a gunfighter - an expensive gunfighter. So along comes a famous Marshall by the name of Clay Blaisedell (Henry Fonda) and his friend and bodyguard Tom Morgan (Anthony Quinn) to take on the job. He also brings along his portable gambling casino complete with the shopfront hoarding naming his gaming saloon "The French Palace". (He explains to the council "What you pay me for keeping the law would hardly keep me in ammunition for my gun practice - gambling is my business - it's how I make my living"). But through one difference or another and having to outdraw and kill his friend Tom Morgan and set his gambling saloon alight the town eventually sours against the Marshall. The now reformed gang member and newly appointed Deputy Sheriff Johnny Gannon (Richard Widmark) tells Blaisedell he'll have to leave town by morning. The picture ends with Gannon confronting Blaisedall the next day with the gunman easily outdrawing him. But surprisingly the Marshall capitulates and tosses his gold handled six-guns into the street to the visibly shocked Deputy's relief. Then with a wry smile to Gannon the colourful gunfighter mounts his horse and rides on out of town forever.
Performances are generally excellent throughout! Although Widmark has top billing it is clearly Fonda's picture. His Clay Blaisedell is the film's pivotal personality. As the well dressed gunfighter he is cool, smooth and lightning fast on the draw - as one challenger (DeForest Kelly) finds out to his utter astonishment in one gripping scene. Fonda hasn't been this good in a western since his superb portrayal in "The Tin Star" two years previously. Good too is Quinn in a really meaty characterization as Blaisedell's neurotic, over-protective and club- footed bodyguard. Also effective is Tom Drake as the Pabloite gang leader but Dorothy Malone is quite irritating and gives her usual breathless overwrought and over played portrayal of an old flame of Blaisedell. Better, and prettier to look at too, is Dolores Michaels as his newer love interest.
Underlining this engaging western is the music of Leigh Harline. The composer had worked before with director Dmytryk on the excellent "Broken Lance" (1954) which elicited from him his best score. Here his music is just as dramatic. The music under the titles is robust and determined featuring strident strings against repeating and striking brass figures pointing up the menace of the errant San Pablo gang. There is some tender music for the scenes with Fonda and Michaels and a reflective lyrical cue for Blaisedell himself which is wonderfully uplifting for the end scene as he rides out of town.
WARLOCK is a good western and warrants repeated viewings. A well structured character driven drama set in an engaging western environment and well played by an equally engaging cast in what is yet another memorable movie from the cinema of yesteryear.