Silver River

Errol Flynn is kicked out of the Union Army at the end of the Civil War for disobeying orders, albeit for good reasons. Now embittered, he travels to Silver City, Nevada, where he becomes a successful businessman through ruthless tactics. He also has an eye for married Ann Sheridan. Eventually Flynn's ruthlessness catches up with him.

So-so western with a decent cast and director. Flynn's amoral character makes for interesting viewing, though the cop-out ending is absolutely terrible and undermines the rest of the film. Nice support from Thomas Mitchell, Tom D'Andrea, and Barton MacLane. The part with Ulysses S. Grant is amusing, particularly his short height, which is surprisingly historically accurate. The last of seven films Flynn made with director Raoul Walsh. Flynn's alcoholism and poor behavior while filming ticked Walsh off so much he refused to work with him again.

Flynn plays an unscrupulous sleaze-bag for most of the film, and it fits him like a glove. Sheridan is plucky but not quite as beautiful as I'm used to seeing her. Flynn is out after the married Sheridan with a leer in his eye, but there's not a lot of sexual tension once he's got his hands on her. Large-scale battle and mob scenes show off the large budget. Better than usual score from Max Steiner. A nice A-production from Warner Brothers that you probably haven't seen, but not much more than that.

Despite Stephen Longstreet and Harriet Frank's too verbose screenplay (was it really necessary to give Thomas Mitchell THREE condemnatory speeches of Errol Flynn when one would do?) and noted action director Raoul Walsh's obvious discomfort with examining the vicissitudes of the passionless Ann Sheridan/Bruce Bennet marriage to say nothing of trying to enliven business intrigue centered around cornering the silver market, I kind of enjoyed this rare foray of Flynn into anti hero-dom. Don't know whether it's because it mirrored what was going on in his private life or if he's just an under rated actor, but the guy does dark complexity of character rather well, in my opinion. Give it a B minus.

PS...The scene with U. S. Grant has to be the most superficial Hollywood portrayal of an American president until Pat McCormick essayed Grover Cleveland in Altman's "Buffalo Bill And The Indians", (another flawed but fun western).

"Silver River" is an under-appreciated, near classic western, that cries out for two things, color and greater chemistry between Flynn and Sheridan. Flynn liked VERY young women; he was probably intimidated by the mature, stronger, types, and Sheridan was one of the strongest. The hostile fireworks between them are quite convincing, the romance, less so. Since Flynn's feelings for Sheridan are central to the plot and thematic elements of this movie, this could have been disastrous. However, the complex, biographical-like plotting, solid performances by supporting actors and well choreographed overall action make up for this. The behavior of Flynn's character is quite understandable. When he is unselfish, he invariably suffers, having his career destroyed, not once, but twice. Thomas Mitchell's reformed drunk turned senatorial candidate would seem far fetched, until we are reminded that President Grant (a key character in the story) was a reformed alcoholic. Mitchell does the right things for the wrong reasons, Flynn the wrong things for the right reasons. This is certainly my favorite Errol Flynn western. I just wish Warner Brothers had given Flynn his usual "A" treatment and opted for color. I give "Silver River" an "8".

Erroll Flynn epitomizes the American dream in his movie.he is the perfect go-getter,uneducated but very smart,who pushes everyone out of his way .Hints at David and Bethsabea are thoroughly relevant and gave the whole movie a timeless side.Stanley is a scientist,an engineer ,but what can he do?Wife Georgia is more reluctant but for her too,it's just a matter of time.

The story is parabolic:the rise and fall of a young Turk ,during the "silver rush" .The most important scene is the banquet ,in Mike's desirable property which chic people are quick to leave when a "drunk"

PLato has finished his long diatribe against his pal.Those posh people would never accept a nouveau riche in their aristocratic circle anyway.That scene is the central one,cause it contains both McComb's apex and his downfall.

This is another great movie by a director who made dozens of gems.