Herbert J. Yates presents John Steinbeck's THE RED PONY (Feldman Productions/Milestone Productions/REPUBLIC PICTURES, 1949) Starring Myrna Loy, Robert Mitchum, Louis Calhern. Written by John Steinbeck, Directed by Lewis Milestone, Original Music by Aaron Copland.
REPUBLIC PICTURES, long the mainstay of the "B" Western, the Juvenile Comedy Series and (of course) the Saturday Matinée Serial, occasionally brought out through release a truly remarkable film. Case in point, we present you with The John Ford & Merion C. Cooper Argosy Production of THE QUIET MAN (1952). Films of such stature are rare anywhere and particularly so when produced (at least in part) by an outfit such as "The Thrill Factory". There were many others over the years; but as we said in the whole they were rare.
LIKEWISE we have the case of this John Steinbeck tale of family, generational gaps, hero worship, fraud and ultimate discovery of mutual humanity; with of all its virtues, frailties and foibles notwithstanding. The screen adaptation is a surprisingly successful blending of emotion all around the spectrum. Although we have a setting in the American West , in the early part of the 20th Century, well after the Frontier had been tamed; we find the story to be universally relevant and relative to all in any time, setting or situation.
FOR a project that is at least partially founded in a "poverty row", lesser tiered Hollywood Studio, the film marshals first rate talent from the best of that available. The Cast, featuring such luminaries as: Myrna Loy, Robert Mitchum and Louis Calhern, is equally well supported in the lower portions by fine performers with less well names. Shepherd Standwick, Margaret Hamilton, a young Nino Tempo and an even younger Beau Bridges (yeah, Lloyd's Son, Jeff's Bro). We're also treated to an uncredited appearance by Pro Wrestler, 'Wee Willie' Davis as a truck driver.
THE cinematography is beautiful and the open country natural settings are truly breath taking. Stark realism, as exemplified by the ranch buildings and corrals, barn, etc., receives an outstanding dose of contrast by the finely conceived and rendered dream sequences. One tends to magnify the intensity of the other. The inclusion of the Technicolor Process is used to the utmost level; making for the best and most natural palette on any screen.
LEST we forget our hearing, we must make mention of the beautiful original score composed by Mr. Aaron Copland. The theme and the incidental music, while sounding like vintage Copland, still manages to be a unique overall composition; deserving to be classified as a symphonic masterpiece, had it been written in another era.
IN the hands of veteran Director's Director, Mr. Lewis Milestone, the story manages to Classify itself as being virtually unclassifiable. You'll find no pigeon holing or square and round pegging here. What could well be called a Western, a Comedy, a Coming of Age Tale, a Family Story or a Juvenile Tale, could be and would be classified in any of these categories; ergo, it's in essence none of these.
AND that my dear Schultz, is what we believe to be the real criterion for true, singular classification and uniqueness. That's It and That's All, Story Over!
POODLE SCHNITZ!!
