Jubal

I love discovering old films that I'd never seen before. It's as if the stars became young again or alive again and made another film just for me. Glenn Ford, Rod Steiger, Charles Bronson, Jack Elam and others are gone now, (and I haven't seen Ernie Borgnine in anything in years-although he's still working per the IMDb), but there they are in a very fine wide-screen western from 1956.

The Western hit a peak in the 1950's. In the pre-war period, it was a specialty genre that was mostly for juvenile audiences with singing cowboys and such. Occasionally there was an historical epic. What was missing were A-level pictures with top stars, strong stories and good production values. When John Ford, after several years doing other types of films, returned to the Western with "Stagecoach" in 1939 that began to change. He and Howard Hawks and others proved the Western could be a major adult genre that major stars would want to be a part of. By the 50's every major star and most of the top directors did westerns on a routine basis. There must be three dozen 50's westerns that are at least three star movies on a scale of four and Jubal is certainly one of them. The era ended when the adult western on TV started giving people for free what they were getting on the big screen. Then the times changed and westerns started to seem passé'. Looking at the really good ones from this era shows us what we've lost.

Still, despite the quality of this film, you can't help but think of other films as you watch it. There's the Grand Teton scenery, reminiscent of the greatest of all westerns, Shane. The story is alternately out of Othello or maybe the Bible, whatever you prefer. Rod Steiger is basically playing the same character he did in the previous year's Oklahoma. But the thing that really jumped out at me is that here we have the two Marty's. Steiger played the Bronx butcher in the original 1953 teleplay and Borgnine won an Oscar for it in the 1955 film. He's picked it up on 3/21/56, two weeks before this film opened. One wonders how Steiger, who surely wanted the role, and Borgnine, who got it, got along with each other during the filming of Jubal. They even have a fist-fight scene. But they were two professional actors playing roles other than Marty, so it probably made no difference.

Actually, the roles they play kind of parallel their performances as Marty. Steiger in most of his roles is a tortured introvert. Borgnine is a misunderstood extrovert. That's how they played Marty and that's how they play their roles here. It fits the story like a glove. There's even several references to how Valerie French finds him ugly and repulsive. Maybe he should have married Clara, (the girl from Marty).

is a perfect way to express how I feel about JUBAL. Director Delmar Daves takes an outstanding Western cast & takes a Shakespearean tragedy, then mixes the two elements. The result is not only one of the best westerns of the 1950s, but one of the best films of the decade, & one of the best westerns ever. From the performance of the entire cast, to Raskin's score, it's outstanding all around.

Don't miss this one. Just see it again & again.

If for no other reason watch this movie for its locations. The Grand Tetons are the show stealer here. It makes me want to travel to Wyoming even more than I had wanted to before. The movie is excellent as well, especially if you are a Glenn Ford fan.

In the mid-1950's writer-director Delmer Daves made a series of superior westerns for Columbia studios. Too bad these films have not gotten their critical due from movie historians or critics. Perhaps it's because they lack the thematic continuity of a Buddy Boetticher or a John Ford to tie them together. Still each entry presents its own distinct virtues and all are greatly entertaining. If the compact, and tautly told "3:10 to Yuma" is the best of the lot, the scenic and sprawling "Jubal" runs a close second. This mid-series film features Glenn Ford's easy-going charm, a rowdy Earnest Borgnine, a luscious Valerie French, and the panoramic backdrop of Jackson Hole Wyoming. And in an odd piece of casting, which Daves seems fond of, method actor extrordinaire Rod Steiger appears as a treacherous ranch hand named of all things, Pinky! Following the dueling styles of Ford vs. Steiger is at least as interesting as the otherwise well-staged outbursts of gunplay.

Judging from other entries, such as 1958's "Cowboy", Daves seems genuinely intrigued by the real life of cowhands. Thus the cowhands in Jubal are more vividly drawn and distinctively presented than their usual role as faceless stage props. The story itself features a fairly explicit (for its time) woman in heat (French), whose scheming shenanigans set off a plot- driving chain of events, while shifting alliances among ranch hands and settlers round out a sprawling and sometimes over-generous plot. And, oh yes, making a sudden appearance half way through, a lonesome Charles Bronson in a tacked on role that perhaps provided a needed payday, (Daves and Bronson had been together in the earlier, oddball essay "Drumbeat".) If none of this sounds good, then just sit back and take in the beautifully photographed alpine landscape that has salvaged many a western much less worthy than "Jubal".

JUBAL takes about forty-five minutes to set up its tale of revenge and murder and lust in the dust, but once the plot gets into high gear it becomes highly watchable until the conclusion.

GLENN FORD is an unhappy man on the run who's taken in by rancher ERNEST BORGNINE and his wife VALERIE FRENCH, earning his pay as a helper and suddenly promoted to foreman, much to the annoyance of ROD STEIGER, who wanted the job and also has his eyes on Borgnine's wife.

Ford spends most of the story trying to fend off the advances of Valerie French, who turns out to be a real Jezebel creating trouble between Ford and Borgnine when she makes her hubby believe the lies that jealous Steiger has told him. Before you know it, Ford is in deep trouble with nowhere to run except to seek the help of some peace loving pioneers on a wagon train, and a woman (FELICIA FARR) who wants to help him fight injustice.

Delmer Daves directs the actors through their paces with skill, except that he allows ROD STEIGER to chew too much of the scenery. Steiger struts about as if he's still playing Jud in OKLAHOMA! and never lets up for a moment being a nasty, snarling, cowardly villain. He's so despicable you can't help hating him.

On the other hand, CHARLES BRONSON shows considerable skill as Ford's friend, a gunslinger who saves Ford's life at a crucial moment. The film starts off a little too slowly before it gets to the mid-section where things really start to heat up. From then on, it's a top-rate western with strong performances from most of the cast.

Borgnine may be playing a "nice guy" for a change, but he's still obnoxious and boorish in his behavior and he sometimes overdoes the hearty laughter. His admission that he knows nothing about women or how to treat them, reminds me that "Marty" had the same problem.

Summing up: Good western, excellent photography, nice scenery and one of Glenn Ford's most underrated performances.