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IMDbPro

La légion des damnés

Titre original : The Texas Rangers
  • 1936
  • Approved
  • 1h 38min
NOTE IMDb
6,5/10
882
MA NOTE
Fred MacMurray, Jack Oakie, and Jean Parker in La légion des damnés (1936)
Classical WesternDramaWestern

Deux anciens hors-la-loi malchanceux se portent volontaires pour devenir des Texas Rangers et se retrouvent chargés d'arrêter un vieil ami, devenu un hors-la-loi notoire.Deux anciens hors-la-loi malchanceux se portent volontaires pour devenir des Texas Rangers et se retrouvent chargés d'arrêter un vieil ami, devenu un hors-la-loi notoire.Deux anciens hors-la-loi malchanceux se portent volontaires pour devenir des Texas Rangers et se retrouvent chargés d'arrêter un vieil ami, devenu un hors-la-loi notoire.

  • Réalisation
    • King Vidor
  • Scénario
    • King Vidor
    • Elizabeth Hill
    • Louis Stevens
  • Casting principal
    • Fred MacMurray
    • Jack Oakie
    • Jean Parker
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,5/10
    882
    MA NOTE
    • Réalisation
      • King Vidor
    • Scénario
      • King Vidor
      • Elizabeth Hill
      • Louis Stevens
    • Casting principal
      • Fred MacMurray
      • Jack Oakie
      • Jean Parker
    • 22avis d'utilisateurs
    • 17avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Nommé pour 1 Oscar
      • 1 nomination au total

    Photos26

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    + 19
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    Rôles principaux48

    Modifier
    Fred MacMurray
    Fred MacMurray
    • Jim Hawkins
    Jack Oakie
    Jack Oakie
    • Henry B. 'Wahoo' Jones
    Jean Parker
    Jean Parker
    • Amanda Bailey
    Lloyd Nolan
    Lloyd Nolan
    • Sam 'Polka Dot' McGee
    Edward Ellis
    Edward Ellis
    • Major Bailey
    Benny Bartlett
    Benny Bartlett
    • David
    • (as Bennie Bartlett)
    Frank Shannon
    • Captain Stafford
    Frank Cordell
    • Ranger Ditson
    Richard Carle
    Richard Carle
    • Casper Johnson
    Jed Prouty
    Jed Prouty
    • District Attorney Dave Twitchell
    Fred Kohler
    Fred Kohler
    • Jess Higgins
    • (as Fred Kohler Sr.)
    George 'Gabby' Hayes
    George 'Gabby' Hayes
    • Judge Snow
    • (as George Hayes)
    Stanley Andrews
    Stanley Andrews
    • First Higgins Henchman
    • (non crédité)
    Irving Bacon
    Irving Bacon
    • David's Father
    • (non crédité)
    Kathryn Bates
    • School Teacher
    • (non crédité)
    John Beck
    • Stage Passenger
    • (non crédité)
    Hank Bell
    Hank Bell
    • Hank Wallace, Texas Ranger
    • (non crédité)
    Virginia Brissac
    Virginia Brissac
    • David's Mother
    • (non crédité)
    • Réalisation
      • King Vidor
    • Scénario
      • King Vidor
      • Elizabeth Hill
      • Louis Stevens
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs22

    6,5882
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    Avis à la une

    7museumofdave

    Entertaining Studio Western by King Vidor with Three Solid Leads

    This Paramount studio effort stars Fred MacMurray, who many folks today only remember as the Dad in My Three Songs or the Flubber films. But MacMurry could do almost anything and do it well, from his cunning performance as the weak insurance foil in the classic noir Double Indemnity to his brilliant turn as the amoral business executive in The Apartment.

    Here early MacMurray is pared with Jack Oakie, the latter an endearing studio performer who brings some genuine warmth and humor to what in many ways is a typical studio Western, but much richer than the usual B oaters churned out by Republic or Monogram; this is essentially a tale of cowboy reformation, as three thieving get separated by circumstance and two of them choose community and goodness, while one--the notorious polka dot bandit (!), played by Lloyd Nolan, stays outside the law. Nolan, who usually played good second leads or endearing detectives, effortlessly engages in a wee bit of method acting, convincing in his greasy charm, oozing villainy and malice.

    While not a landmark film in any way, this is a casual, amiable entertainment, good for a lazy afternoon (coupled with a bowl of popcorn and perhaps a Charlie Chan mystery).
    7hitchcockthelegend

    Guardians of the Frontier-Makers of Peace.

    The Texas Rangers is directed by King Vidor who also co-writes with Elizabeth Hill, Louis Stevens and Walter Prescott Webb. It stars Fred MacMurray, Jack Oakie, Jean Parker and Lloyd Nolan. Music is by Gerard Carbonara and cinematography by Edward Cronjager. Plot has MacMurray and Oakie as two outlaws who decide to become Texas Rangers, something which invariably brings them into conflict with another outlaw pal.

    It showcases the good and bad of 1930s Westerns. The action is strong and vibrant, the landscapes appealing and the story as a premise is always interesting. But those good points are countered with weak scripting, goofs, logic holes and a mixed bag of acting performances. But all told, Vidor's movie comes through its problems to stay firmly on the good side of good for the Western fan.

    It's good guys versus bad guys on the home front, with the Indians lining up in numbers to be the common foe. It's here for the latter, where Vidor excels, constructing the action scenes with great skill as a ream of extras in Indian attire attack in their droves, arrows and bullets fly with murderous worth, bodies hurl and fall about, it's exciting stuff. The highlight coming as the Indians start flinging boulders off of a cliff face down onto the Rangers down below; the sound work here especially great, as is the stunt work in this whole segment of the film.

    MacMurray and Oakie make a likable pair, but both seem a touch out of place in this portion of the Wild West. But Nolan cuts a nice snarly figure as chief villain Sam "Polka Dot" McGee, and he gets to deliver the film's best (nastiest) moment. Parker is pretty but pretty much a token, while secondary support slots are capably filled by the likes of Edward Ellis, Benny Bartlett and Frank Shannon. Cronjager's black and white photography is on the money, neatly utilising the New Mexico locations as wide open vistas that impose on the characters. While Carbonara scores it with standard Cowboys and Indian flavours for the attacks, and bombastic machismo for the Texas Rangers patrols.

    Full of formula and mixed signals as to what it wants to be, The Texas Rangers is none the less an enjoyable picture and one of the better Oaters from the 30s. 7/10

    Footnote: A sequel followed in 1940 called The Texas Rangers Ride Again. In 1949 The Texas Rangers was remade as Streets of Laredo, with William Holden starring.
    7Marlburian

    Good western for 1936, but anachronisms

    The copy I watched courtesy of YouTube was clean and crisp, and the film itself was good by the standards of the mid-1930s.

    Unlike some other reviewers here on IMDb, I've always thought Fred MacMurray an acceptable Western actor, and I found Jack Okie irritating in the first part of the film - especially as he rode along with MacMurray anticipating a romantic encounter with a señorita. The back projection was reasonable enough, certainly compared with that in "The Plainsman", issued in the same year.

    With much of the film being set before Texas became a state (which happened in 1845), there were lots of anachronisms - relating to the Rangers' kit and weapons for example. And the telegraph system was very much in its infancy - I wonder if it had reached Texas?

    One might also mention the unrealistic death following the shot under the table.

    On the plus side, the fight between the Rangers and the Indians was excellent and Lloyd Nolan in his early scenes radiated charisma - before reverting to the sort of nasty character he was to portray in later films.
    5Steffi_P

    "I'll be glad to get in the wide open spaces again"

    The Western genre was at a low ebb in the 1930s. It did not die out completely as has sometimes been claimed, but for the most part it was relegated to B-movie status (in fact B-Westerns were what John Wayne spent most of the 30s doing). It's also untrue that the genre was suddenly revived in 1939 by the arrival of Stagecoach. A-budget Westerns had been appearing for a few years before then, but they were odd affairs for the most part, born of a generation who had lost touch with the Old West.

    The Texas Rangers was perhaps the first of these bigger Westerns, and in many ways it plays like a recap of genre conventions, particularly the more farcical aspects. We have bandits who are good guys deep down, and Indians who might as well be hordes of zombies. Some of the more fun clichés, like an alcoholic judge, are briefly touched upon, but only briefly. The screenplay is on the whole a rather amateurish effort, riding roughshod over logic whenever a gap in the plot needs sewing up. I mean, are we really supposed to believe Jack Oakie is off in the hills counting out his loot by night, and yet is still consistently able to get his job as Stagecoach driver back each morning? Silly, even by the standards of the genre.

    And yet producer-director King Vidor was the kind of man to take such projects seriously. And he at least has a feel for the form. Too many of these 30s Westerns fail to make proper use of the open plains, which after all is what it's all supposed to be about. Not Vidor though – for him the seemingly endless vistas are an almost continual backdrop. Vidor's outdoor shots give you a real feeling of the emptiness, which is essential. You can't have a character singing "Bury Me Not on the Lone Prairie" unless the prairie looks appropriately lonesome. Vidor's direction of dialogue scenes is immaculate as always, generally holding the actors in long takes with occasional barely-perceptible camera shift, giving a real feeling of smoothness. His handling of action is the opposite, full of wild cuts and crazed angles to give a real feeling of frenzy. One of the most effective manoeuvres he pulls in The Texas Rangers is just before the heroes come face-to-face with the massive band of Indians. We begin with a tracking shot of them riding alongside a rock face, then the camera gradually turns, opening out the space, and eerily revealing the army of natives.

    Unfortunately not everyone is so suited to the genre. I don't buy MacFred as a Westerner, let alone a bandit. He just doesn't have the demeanour of a two-baths-a-year man. Leading lady Jean Parker is simply bland here, as is her character. Fortunately we do get to see a lot of Jack Oakie, who still doesn't quite look the part but is entertaining nevertheless. Oakie may be a comic but he can really act, as you will see in the one or two scenes where he has to play it straight. Lloyd Nolan is great too – his face says things that aren't in the script. And any picture that has Edward Ellis in is bound to be a treat. He is also the only player with a real bit of Western grit about him.

    The Texas Rangers may be the Western genre's reunion with big budgets and big stars, but it is really little more than a souped-up B-Western. It is directed with class, but the overall feel is one of shoddiness, mainly because the studios at the time weren't used to the form. They didn't have the stockpile of authentic performers or the ready-made frontier-towns at their disposal. We get the wide-open plains alright, but it takes more than chaps and Stetsons to conjure up the spirit of the Old West.
    8FightingWesterner

    Satisfying Action-Adventure

    On a whim, bandits Fred MacMurray and Jack Oakie enlist in the Texas Rangers. The two partner up with old pal Lloyd Nolan for some crooked schemes, but soon hear the call of duty, putting them at odds with their criminal lifestyle.

    Like his most famous film, The Champ, director King Vidor imbues this with depression-era sensibilities and sentimentality, having lovable bums MacMurray and Oakie find self-respect, romance, and a sense of selflessness, all with a young orphan in tow.

    Photography, direction, and action sequences are all first rate. The performances were a little dated, but adequate. Unlike others, I didn't find Oakie's good-old-boy character annoying or unrealistic.

    Cameo appearances by George "Gabby" Hayes and Charles Middleton (Ming the Merciless) were a lot of fun too.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      King Vidor made this movie to honor the celebrations of the centennial of the state of Texas.
    • Gaffes
      Hawkins and the other Rangers are surrounded by Indians. He kills the 2 Indians rolling rocks, throwing his empty pistol at one. As he descends the other side, he mounts a bareback horse, riding off shooting a pistol that shouldn't be there as he rides away.
    • Citations

      Wahoo Jones: How do you expect to find Sam down in this country? Texas! Phooey! No towns, no ranch houses, no gals, no nuthin'. Hah! We can't see a jack rabbit in two days. Boy, you can't tell me we're still in the United States!

    • Connexions
      Edited into Le Retour des Texas Rangers (1940)
    • Bandes originales
      The Texas Rangers Song
      (uncredited)

      Music by Sam Coslow

      Lyrics by Harry Behn

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    Détails

    Modifier
    • Date de sortie
      • 23 octobre 1936 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • The Texas Rangers
    • Lieux de tournage
      • San Ildefonso Pueblo, Nouveau-Mexique, États-Unis
    • Société de production
      • Paramount Pictures
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 38 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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    Fred MacMurray, Jack Oakie, and Jean Parker in La légion des damnés (1936)
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    By what name was La légion des damnés (1936) officially released in India in English?
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