Branded

My father and I went to the drive-in movies every weekend during the first half of the 1950s, and I can vividly recall seeing a number of Alan Ladd movies sitting in our '50 Ford and munching on cracker jacks while Dad smoked unfiltered Pall Malls.

Dad thought Alan Ladd was the best, and I always assumed that he based his opinion mostly on Ladd's indelible turn in "Shane." But, I can't help but think that "Branded" played no small part in forming his opinion.

What a gem of a movie! I may have seen it as a youngster and, if so, I waited more than 60 years to see it again. It was worth the wait! First, the characters, the script, and the storyline are believable. The players think like we do, talk like we do, and act like we do. That usually is enough to attract some interest in a film. But this movie offers much more.

The cinematography is breathtaking. This little film yields nothing to "She Wore a Yellow Ribbon" or "Rio Grande." The scenery, the color, the lighting, are all superior.

The horsemanship is spectacular. How often can you say that about an "oater." The riders in this film gallop along narrow ridge-lines and down steep grades. And there is nothing to cushion their fall except red rock. And take a look at the camera angles, as the riders are tearing down the trail.

And the music! Again, how often do you get to praise the score in a Western? The score is taut, and adds much to the drama and the excitement.

The cast is excellent. And it gives the viewer the chance to see Alan Ladd just before he filmed "Shane." Sure, there were about four movies between "Branded" and "Shane," but "Shane" sat on the shelf for two years before it was released in 1953, so it was actually filmed right after "Branded." You could almost say that Ladd auditioned his Shane character in this film.

This small picture probably had a small budget and a limited release. But it is an "A" picture in every respect. Any retrospective on Ladd or classic Westerns should include this little gem.

While on the dodge from a shooting scrape, gunfighter Alan Ladd meets up with a pair of drifters, Robert Keith and John Berkes. They want him to pose as the long lost son of a prominent Texas rancher Charles Bickford who was kidnapped as a child and never heard from again. John Berkes is a tattoo artist and he gives Alan Ladd a tattoo that looks like a birth mark the child had.

It works all too well as Ladd is welcomed into the home of Bickford and wife Selena Royle. In addition there's a sister in the home played by Mona Freeman and Ladd is not developing brotherly feelings for her.

In the end he can't go through with fleecing these decent people and Ladd sets out to set things right.

Branded was Ladd's second starring western after Whispering Smith and he proved to be equally well received here. The urban Ladd of the films Paramount put him in starting with This Gun for Hire gradually gave way to a western character and he would do more of them of varying quality over the rest of his career. The best of which was that immortal classic Shane.

In one sense though Ladd's character is very much like Raven in This Gun for Hire. Both of them were orphans with great big chips on their shoulders. Imagine Raven a little earlier than when he met up with Veronica Lake and got into the home of a couple like Bickford and Royle and you have a pretty good idea of what Ladd's character Choya is like in Branded.

Acting honors however go to the ever dependable Joseph Calleia as a Mexican bandit chief and to Robert Keith. Keith usually was a good guy in most films, a typical role for him would be the father of the Tuttle girls as he was in Young at Heart. He completely plays against type as a slime ball bottom feeder who turns out to be far more despicable than even we originally think.

Branded is a good western and Alan Ladd and the cast members should be proud of their work in this one.

The opening scenes set the tone of the film… Ladd, an itinerant gunman known simply as Choya and with the aid of a tattooed birthmark, passes himself off as the lost son and is accepted wholeheartedly by the parents (Bickford and Royle) and Ruth (Freeman), the man's sister…

Ruth had responded to his arrival on the ranch as any pretty woman would respond to a mysterious, handsome stranger, but she rapidly sets right to the fact that he is a relative…

As soon as he is welcomed as Richard Jr, however, something happens to Choya… As a member of a loving family, Choya experiences feelings denied him by his own childhood and became increasingly sickened by his contribution in the tricking…

Leading a cattle drive to El Paso, Choya decides to give up his charade revealing his true identity to Ruth, who turns on him with consternation and antagonism… There remains only one way to redeem himself and make up for the distressing emotion he has caused the Lavery family: To find their real son…

All the elements in "Branded" are taken directly from the straight-shooting school of Western movies… Choya, despite his confession to Ruth that he is a "four-flushin' thief," is true-blue outlaw hero… The smart Leffingwell has him classified correctly: "You won't hit an older man. You ain't the kind that'll draw first, or shoot a man in the back." Even with the rules thus outlined, Ladd still has a chance to present his standard beguiling bad guy early in the film, merely holding back a victorious smile as he pretends confusion over the elder Lavery's excited reaction to his birthmark…

Besides its other values, "Branded" is a visual delight… In fact, the movie's one drawback as a Western entertainment is a lack of big action highlights

A fine western that was better than I expected It to be.Alan Ladd, although sometimes wooden puts In a good performance here. The cinematography and the colour process of this movie are outstanding. This western has a few good plot twists to make It stand out.The location scenery Is stunning too. Alan Ladd has something of a mystery persona here not unlike his role In Shane. The colours In this movie are very vivid and lifelike not at all garish as I thought they might be. This western has good support acting too, Charles Bickford plays his part with ruthless relish ala Big country. Robert Keith Is a shady slime ball who's demise In the film Is very fitting. This Is an out and out satisfying western and one I can thoroughly recommend.

The imposter topic is very rare in a western:we often find it in a classic detective film like "no man of her own"(1950) and its French mediocre remake "I married a shadow" (1982).Except for the short prologue ,first half looks like a psychological suspense.Second part is more eventful,although not at the expense of Alan Ladd character's frames of mind.

The hero actually is in need of a family;we know it from the start,Alan Ladd's wistful face tells it all.Love interest-which might be some kind of faux incest-is not as convincing as the hero's searching for haven ;it's a pity that the mother's character is not more present because she is,more than Mona Freeman's one,the keystone of the story.

Also a work of redemption ,because Ladd will try to redeem himself ,and a plea for peace and understanding,proof positive that a western does not need a violent showdown to be successful.The Rio Grande becomes a beautiful symbol,as human as political,and the scene when the Father takes in the two men on its banks has a biblical grandeur.

Rudolph Mate shows here that a B western can sometimes be deeper than so-called" A grade" classic ones.