Die Farm der Besessenen

This thing is a wild ride - it really crackles with energy! Plus its one of those rare films where the actors chew up the scenery and spit it back out, and its expertly done, absolutely right, and works beautifully. Also its a film made by adults, for adults, starring adults; all the leads are in their late 30s and up. It is very stylized and the black-and-white cinematography was nominated for an Academy Award. So many scenes stand out, but the whole section involving the "battle" with the Herrera family is particularly vivid. Gilbert Roland registers surprisingly well also, the role was perfect for him at that age. The Herrera mother nursing her hatred is wonderful. Its possibly the peak of Stanwyck's career; I'd argue that she was never able to make as good a film again. I would pay 100 TCs to see it another time!

There's a lot of Freudian subtext in this unusual 1950 Western, but what resonates most is how director Anthony Mann so smoothly transcends the testosterone-driven genre to come up with an entertaining hybrid of a woman's picture and a Greek tragedy. At the dynamic core of this film is the masterstroke of casting Walter Huston (in his last screen role) and Barbara Stanwyck as a spendthrift father and his headstrong daughter at odds over running the expansive ranch that gives the movie its name. In Roman mythology, the Furies were supernatural personifications of the anger of the dead. As females, they represent regeneration and the potency of creation, which both consumes and empowers. It is this single-minded sense of empowerment that drives Vance Jeffords to usurp her wily father T.C. while seeking his approval at the same time.

Set in 1870's New Mexico, the story written by Charles Schnee ("The Bad and the Beautiful") is steeped in not-so-indiscreet psychological baggage. T.C. lives by his own rules by borrowing liberally from banks, paying hired hands with his own script, and allowing Mexican settlers to live off his land. Unlike her weak-willed brother, Vance enjoys provoking her father but to what end is never clear as an unacknowledged cloud of incest hangs over their strange relationship. At the same time, T.C. has a sworn enemy in gambler Rip Darrow who is looking to avenge his father's death at T.C.'s hands. Vance falls for Darrow, but she's also drawn to Juan Herrera, a childhood friend and one of the Mexicans now considered squatters. Complicating matters even more is the arrival of T.C.'s pretentious fiancée Flo Burnett, a devious socialite out to rid the ranch of the Mexicans and push Vance aside as the female head of the beleaguered family. This ploy leads to a most shocking scene that fits well within the story's noirish shadings.

As T.C., Huston gives a grand performance evoking both as the old prospector in his son John's "The Treasure of Sierra Madre" and the conflicted industrialist in William Wyler's "Dodsworth". Although a bit old for her role at 43, Stanwyck combines her no-nonsense manner with a childlike vulnerability in illuminating Vance's most complex psyche. This is excellent work from an actress who always seemed home on the range. Generally a pliable third lead in films ("Rear Window"), Wendell Corey doesn't lend charisma or a convincing edge to his swagger as Darrow, but Gilbert Roland shines in the smallish role of Juan and strikes sparks with Stanwyck that should have happened with Corey. However, it is Judith Anderson (Mrs. Danvers in "Rebecca") who steals her brief scenes as Flo bringing out a palpable tension with Stanwyck in their almost-comically cutting scenes together (pardon the pun!). Veteran character actress Beulah Bondi also has a nice near-cameo as a banker's wife fully aware of her husband's prideful shortcomings.

The intensely passionate movie swirls in all its psycho-sexual emotionalism and Shakespearean-level acts of murder, revenge and greed, but oddly (and perhaps due to the edicts of studio censors), Mann applies the brakes in the disappointing final portion of the film. Still, it's well worth viewing in the new Criterion Collection's 2008 release chock-full of extras. First, there is the meticulously academic commentary track by Western author Jim Kitses ("Horizons West"). Then there is an interesting 17-minute interview with Mann ("Actions Speak Louder Than Words") conducted just prior to his death in 1967. Another interview is offered with Mann's daughter Nina specifically for this release as she recalls her father's often underrated body of work. More of a curio is a silly, obviously scripted 1931 interview with Huston where he evasively responds to the vacuous questions of a pretty reporter. The original theatrical trailer and a stills gallery round out the extras.

One of the best Westerns ever made. Superior to other films of its time because it possesses more realism and authenticity and shuns the silly, false and simplistic moralizing which was almost a requirement for American films of this period. This is a film about real, complex people involved is realistic, complex events. Film-maker Anthony Mann hailed from Great Britain - perhaps this had something to do with the unusual realism. Positives are: 1 - The beautiful cinematography alone is enough reason to rent. The lighting is superb, there is sumptuous use of darkness, and the twilight and night scenes are ravishingly beautiful. 2 - Strong, resourceful female characters instead of the usual phony, helpless, wilting flowers. These women are people in their own right, not merely appendages of some male character. 3 - The characters are an honest mix of good and bad qualities - not artificial cardboard cut-outs simplistically meant to serve as types. 4 - Minorities are portrayed as real people. The Mexicans are portrayed with sensitivity and understanding, instead of the usual condescending caricatures. 5 - Walter Huston, Barbara Stanwyck & Wendell Corey do an excellent job of bringing their characters to life. The other actors are solidly top drawer. 6 - Excellent story-telling at its finest. With repeated viewing, you see more deeply into the complex and surprisingly subtle motivations of the characters. The only negative is that the sensuality of real life was artificially pre-filtered out of the film; but in full fairness to "The Furies," this is true of all American films of this period, due to the de facto censorship which held sway at the time. In sum, a complex, vivid depiction of love, hate, greed, loyalty, betrayal, devotion, affirmation of life and the inexorability of death, as they course through the lives of real, breathing people. Anthony Mann was far ahead of his time in crafting this truthful gem. What a special achievement!

This is a good film to watch as autumn turns to winter. It's filled with old hatreds, revenge both old and new, explosive emotions and a subtle intelligence. Walter Huston and Barbara Stanwyck go on a powerful tear as T.C. and Vance Jeffords. There are hints of incest in the complex presentation of the lives of this father and daughter.There, most of all, is a escalating chill that sweeps down into the furies, that freezes hearts and cools ardor.Films like "The Furies", swirl around the omnipotent lives of stern and demanding patriarchs. We await their comeuppance, their downfall. We await it and we regret that these larger then life men fail to hold on to their wealth, their loves, and sometimes their lives. It is a shame that Walter Huston was dead a year before this, his final film was released. His performance is mesmerizing.

Probably a rarity as I can see it: Anthony Mann's The Furies would fit in just as well on AMC or TCM as it would, if it would ever screen old movies from the 40s and 50s, on the Lifetime network. What this means is that for the film being technically classified as a Wetern, it really has a lot more to offer for audiences of hardened men looking for another memorable performance from Walter Huston, and for women looking for a tough but conflicted heroine with Barbara Stanwyck's character. Mann has terrific source material to work with (the writer also wrote Duel in the Sun), in part because it doesn't cater simply to those looking for a shoot-out. On the contrary, The Furies derives its fascination as a work of psychologically complex family games of power and personal ownership. The 'Elektra complex' issue touched on by other reviewers isn't misplaced, but there's more to it.

This isn't quite to say it's entirely one of Mann's best films, or a masterpiece on the Western genre. It takes a little time to get started, past some of the daughter/father scenes of laughing with one another, and for the drama to really get plugged into about the dealings of ownership of the land of TC Jeffordses. The father, TC (Huston), says he'll give all he has to his daughter, Vance (Stanwyck) to run, but it might not be that easy of a transition. We see this tangled web develop, of Stanwyck's two love interests, one from way back with the Herrera's (still very bitter with TC for taking their land) and another with a banker who has a real love-hate thing for the fiery daughter of a big-bad baron like TC. And both the Jeffords' characters being what they are- really big, amazing personalities- require the actors to pull them off.

Luckily, Mann has the right two people with Huston and Stanwyck, especially with the latter the star projects such confidence and darkness and, at the same time, vulnerability it's not hard to see how she could have been the star in her day. Mann also gets some rich work from a supporting cast; one of which, playing the matriarch of the Herrera clan, is very memorable in a specific shoot-out scene where she talks to herself frantically with TC in her gunshot sight. There's also further development about a level of payback in the third act, and other more melodramatic touches involving TC's bond with an older woman that really gets Vance's gaul (not even so much her father bonding with her, but for her assertion into the clan to push her out far away into Europe, leading to a startling confrontation and a pair of scissors). If you're not strapped-in for some almost soap-opera-ish touches, look elsewhere.

But overall, Mann directs all of this with a fine eye for the darker corners of the western landscape, of the dry and barren lands of the deserts- some of these look shot at night, or developed to look darker than they are- with the cacti and horses riding on in them striking as something more evocative to go along with the big rooms and typical locations of a circa 1870 New Mexico set. And there's even a hanging scene in the film that should rank on any film-lover's list of important scenes; Scorsese even included it in his documentary on American movies, and it's well worth the inclusion. For some good stretches of time, and particularly for the second 2/3 of the running time, The Furies does its job well on its audience, drawing in both sexes for various reasons into its story of land ownership, love and loss, and a father and daughter bond that is touchy and amusing at most pleasant moments. 8.5/10