The Tall Men

Salty, surly star-driven western about a cattle drive from Texas to Montana. Would-be rancher Clark Gable vies for the hand of wisecrackin' Jane Russell with banker Robert Ryan, but Jane's lookin' for a tall man and plenty of rainbows! Good-looking if rather unexceptional time-passer from director Raoul Walsh. Screenwriters Frank Nugent and Sidney Boehm, working from the novel by Heck Allen (using the pen-name Clay Fisher), smoothly intermingle Indian clashes and Mexican stand-offs with jovial exchanges between the characters (also Russell singin' in the washtub). Enjoyable of its type, with attractive cinematography by Leo Tover and another solid performance from Gable. **1/2 from ****

It seems to me that with few exceptions, the best western films were made in the 1950s. The Tall Men is one of the best.

What makes it work so well is what made any Clark Gable movie work; Clark Gable. He had an on screen presence that has been rivaled by few, if any, leading men before or since. As Robert Ryan's character, Nathan Stark, says of gable's character Ben Allison, "he's what every boy wants to be when he grows up, and what every man wishes he had been when he's old." This is a line clearly meant to describe Gable himself.

The film's plot is predictable but it works. Ben Allison and his brother Clint are down on their luck after serving in the Civil War "in a left handed sort of way" as rebels with Quantrill's Raiders. They decide to hold up a cattle baron (Stark) for some fast cash. But in a twist, they agree to return his money and sign on with him for a dangerous cattle drive north for the promise of greater earnings. Along the way Jayne Russell shows up to be the love interest.

Cameron Mitchell is excellent in a role he seems to have perfected, that of a drunken gunslinger who gets his due before the film ends. Juan Garcia is superb as the leader of a Mexican crew of caballeros that once served with Colonel Allison and have remained loyal to him over the years. You can see his total loyalty to "Colonel Allison" in everything he says and does.

All in all, a top notch film.

Clark Gable is the trail boss who ramrods a cattle drive from Texas to Montana in this colorful, sprawling western that has plenty of action. Jane Russell supplies the romance, such as it is, between Gable and co-star Robert Ryan, who'll stop at nothing to owning all of Montana because he dreams big dreams. Naturally, Gable comes to the rescue of Russell a time or two during the film but her head is turned by Ryan's promise of a pot of gold at the end of the rainbow. Beautiful Mexican scenery is the backdrop for this story as the herd makes its way north to Indian country. A lengthy battle takes place between the cattlemen and the Indians that is expertly done but Gable's cunning saves the day, and the beef, for Mineral City. The cast, CinemaScope lensing and Victor Young's plaintive music score are all very good.

One thing the auteur theorists seemed to overlook when analysing the classic and archetypal Westerns, is the fact that all those post-war greats directed by John Ford, from Fort Apache (1948) to Two Rode Together (1961), were written by the same person – Frank Nugent. However with The Tall Men, we have a Frank Nugent Western directed by Raoul Walsh, and lo and behold it features many of those themes often mistakenly described as Fordian, such as respect accorded to an aging gunfighter, and a hostile yet dignified portrayal of Indians. Still, not everyone directs alike, so this doesn't mean it will turn out exactly like one of the Ford horse operas.

Of all Hollywood directors, probably no-one had quite the same affection for the West as Walsh did. Walsh always emphasised the openness and freedom of the plains in his achingly beautiful landscape shots. He contrasts these with a very confined and stripped-down look for his indoor or town-based scenes. He even creates a kind of artificial indoors, for example when Clark Gable and co. settle down after the first day of the cattle drive, with elements as simple as a sloping bank, a tree and a wagon, so as to give all that more impact when we return to the trail. Appropriately for the title of this one, he has his heroes stand tall against the landscape. Although Ford does many similar things (such as contrasting wide-open outdoors with cramped interiors) Ford's landscape scenes often have a slightly desperate, dangerous look to them, with the characters small and vulnerable against the vastness of the scenery, while his homesteads have a safe cosy feel. Walsh on the other hand makes the outdoors look inviting despite its dangers, whereas civilization is dull and restrictive. It's differences like this that bring the diverging characters to the two men's work.

But why, you might ask, if Walsh is so good and he's got a Nugent script, is The Tall Man not a timeless classic like so many of the Ford post-war Westerns were? Well you have to remember Ford was a respected, award-winning director, whereas Walsh was these days a potboiler-man. Ford had access to better casts, better crews, bigger budgets, more flexible shooting-schedules, not to mention being more likely to get Nugent's finer scripts, and to be honest the Tall Men is far from Nugent's best. There's also the fact that Walsh is not on top form because he was not well-suited to the Cinemascope aspect ratio (something Ford managed to avoid for all his late Westerns). Walsh liked to compose in depth – landscape shots that emphasise distance, action moving towards the camera, dollying in for emphasis – and the extra width is fairly useless to him. He tends to frame the action towards the middle of the screen as if still using academy ratio, and as such his actors look a little overwhelmed, detracting from the impact they have on screen and sapping the romantic scenes of any intensity.

Still, there is much to like about The Tall Men. Clark Gable may have been getting on a bit in years, but he has lost none of his rugged screen presence. Jane Russell is no great actress but she's a tough girl who looks like she belongs out on the trail by Gable's side. Walsh's depiction of the cattle drive sweeping across the plains is among the most breathtaking ever committed to celluloid, and the Victor Young score underpins the imagery with an appropriately sentimental theme. There are some superbly rousing actions scenes too, with a real emphasis on making the audience feel in the thick of it. And despite its not being the most thought-provoking thing Frank Nugent ever wrote, like all his Westerns it paints a convincing picture of larger-than-life heroes, and is imbued with all the roughness and nostalgia that has come to define the genre.

and I liked this movie quite a bit. Jane Russel was great--she definitely was the reason I stayed on AMC while I was flipping through the channels on my TV set. This didn't strike me as the typical western--there were very few shoot outs and more character development and beautiful scenery than I had expected. The three major characters were well fleshed out and interesting, although the more minor ones were often one-dimensional and sometimes hackneyed. Jane Russel's character was a strong-spoken woman who at times is a bit putting off because of her appearance as a gold digger, but this simply adds to the multiple dimensions of her character. Although she may not be consistently likable, she is sympathetic nonetheless, and makes the movie worth watching. I do recommend this movie--perhaps not to fans of westerns, but to anyone who likes old fashioned love stories with interesting and believable characters.