The Ride Back

In the Budd Boetticher, Anthony Mann tradition this is one of those Westerns from the 1950's that can be cited as apart from the rest. A welcome change from the usual and the tired, endless stream of the eras most popular genre, both at the Movies and on the small screen.

You know you are in for something unconventional when there is an impressionistic scene using a surreal backdrop and baroque angles at the beginning. The composition shots throughout are not as striking, but still impressive, as things settle in on characters and psychological themes.

It is a dialog driven diversion from standard outdoor stuff and all of the major characters seem real and flawed (even the horse gets a limp). The use of realism is unsettling and adds tension and tightness to the story. Witness the Mexican speech without subtitles and the pursuing Indians who are never shown in close-up. These techniques are used to be unnerving and it works well.

Don't be put off by the title song over the credits that uses its lyrics to lay out the plot (in the end too). This was one of those dated, signature events that at the time no one saw as corny or as irritating and dated as they play today. There isn't anything else that feels dated in this intelligent, insightful, and off beat Movie.

The same Columbia Pictures released 3:10 Yuma, United Artists released their own very similar film The Ride Back. In both films, a reluctant lawman is recruited to escort a dangerous criminal to his doom-in 3:10 to Yuma it's the train station, and in The Ride Back it's the United States border. Chances are, if you liked one you'll like the other, so if this is your cup of tea, give it a whirl.

In this one, William Conrad is a sheriff who has to travel down to Mexico to bring back a wanted criminal. The half-Mexican wanted criminal is played by-I'll give you three guesses-Anthony Quinn. Given every opportunity, Tony tries to escape, but Bill is determined to bring him to the border. Along the way, the lines of right and wrong blur as Tony shows a warm and caring heart. Will Bill go through with it? You'll have to watch to find out.

Compared to the original 3:10 to Yuma-the remake is in a class by itself-I actually liked this movie better. William Conrad is a little boring and wooden, but Anthony Quinn is delectably warm and easy to root for. And as a bonus, Eddie Albert sings the title song! If you're looking for an even better movie though, try The River's Edge, an exciting western where Anthony Quinn toughs it out with a rattlesnake.

I may have missed someone, but by my count only six actors have lines in this ultra-spare Western. The production comes from respected director Robert Aldrich's independent company with William Conrad himself producing. That may account for Quinn's appearance in a cheapie so soon after his Oscar for Lust for Life (1956)—plus, the likelihood that the streamlined production could be shot in less than 2 weeks.

As a Western, it's an offbeat concept— Sheriff Conrad returning fugitive Quinn from Mexico to stand trial. The narrative is basically two nervous guys riding across the great outdoors with some drunken Apaches lurking in the background. No wonder the sheriff can't relax. However, the movie comes across as more interesting than suspenseful, mainly because crucial compromises are made with Quinn's character. He's simply made too likable and respected to generate the kind of tension needed, which may have been the price of putting a headliner like Quinn in the lead. It's really Conrad's resolute sheriff that holds interest as a number of surprising self-doubts begin to unfold. His nicely shaded performance shows how much more than a great radio voice Conrad was. Anyway, it's an entertaining little programmer with a rare distinction. It's the only film I've seen with more untranslated lines outside English than in English—an unusual effect. So, unless you speak Spanish, you may have to do a lot of inferring.

(In passing—it's probably a matter of taste, but to my ear the title tune may be the worst of the era, bellowed out by a decidedly untuneful Eddie Albert.)

Well written, well directed, well acted, well paced. This is a film made by people (Robert Aldrich, William Conrad) who care about the medium.

Powerful performances by the leads and good support makes a simple story - of a Marshall taking a prisoner back to stand trial - an excellent one.

If you like 1950s Jimmy Stewart/Anthony Mann and Randolph Scott/Budd Boetticher westerns, you'll like this one.

The overall look of a routine "B" oater serves as a mere backdrop for what in reality is a fascinating character study. The leads alternate between playing cat-and-mouse with each other and discovering disarming truths about their own characters. The supporting cast, although unknown, provide dynamic supporting performances -- check this unknown gem out, and share your thoughts with me.