Pursued (1947)

Pursued is a soap opera in Western clothing -- it is NOT a film noir. The plot is choppy, slow and has major holes. If you don't like the characters attitudes, just wait five minutes -- they'll change...and change again and again...I'm a big fan of Robert Mitchum, but this was not his best performance. He has no chemistry with Teresa Wright. Dean Jagger plays a thoroughly hateful villain, though.The cinematography and the beautiful desert rock formations were worth two extra stars...

Copyright 8 March 1947 by Hemisphere Films, Inc. Presented by Warner Bros. Pictures, Inc. New York opening at the Strand: 7 March 1947. U.S. release: 2 March 1947. U.K. release: 10 November 1947. Australian release: 24 June 1948. 9,020 feet. 102 minutes. SYNOPSIS: In turn of the century New Mexico, an avenger seeks to kill the last of the Rands. NOTES: Film debut of John Rodney. He followed up his impressive performance here with an unimportant part in Key Largo; and that was followed by Fighter Squadron (1948) and "Calamity Jame and Sam Bass". Which is all I have for his movie career. He then moved over to TV. Locations in Monument Valley.COMMENT: Fascinating variant on Wuthering Heights, superbly photographed, drivingly scored and forcefully directed, with Judith Anderson and surprisingly Dean Jagger and newcomer John Rodney giving forceful portrayals. Mitchum and Teresa Wright are also well cast and directed, with excellent cameos by Alan Hale and Harry Carey Jr. Walsh makes marvelous use both of his broadly scenic natural locations (in awesomely mountainous and rimrock country) and his realistic backlot sets. The action set-pieces are superlatively staged. Impossible to forget such sequences as the rifle ambush from the ridge and the shoot-out with Harry Carey Jr (one of his most unforgettable portraits). Jagger is grippingly malicious as the vengeful Grant Callum, while Judith Anderson's strong portrait is likewise unforgettable. One of Steiner's most appropriately aggressive scores.One of the first of the so-called psychological westerns - and one of the most suspensefully written and directed and spellbindingly produced.

This is a troubling and ingenious story set in the New Mexico territories (i.e. before it was a state) at the turn of the 19th century. It is thus a kind of film noir set in the past and out in the wilds of the West. But there are no 'cowboys and Indians'. Robert Mitchum stars as Jeb Rand, a young man whom mysterious people have always been trying to kill. He was saved when he was six by his adoptive 'Ma', Mrs. Callum (Judith Anderson), after a massacre at his parents' isolated cabin 'up in the Butte country'. Mitchum has blacked out the recollections of how his mother, father, sister and brother were all killed by a gang of terrifying men, or what the reason for it all was. He was not meant to survive, but his new 'Ma' pulled him from a hiding place, fled with him and raised him as her own son, along with her real son and daughter. The daughter is played by winsome Theresa Wright, but unlike most of her 'good girl' parts, she is permitted a huge acting range in this film and goes through extreme character changes very convincingly indeed. When she is in her murderous 'hate phase', she is very scary. Mitchum also does some acting for a change, unlike most of his roles where he is just himself. These miracles of thespianism must all have been brought about by Raoul Walsh, the director, who coaxed Mitchum and Wright into territory as unfamiliar, perhaps, as New Mexico itself. Theresa Wright was always a most congenial screen presence and, like Bonita Granville, brought a great deal of normality and good character to a screen full of, let's face it, pretty weird people. It is not for nothing that actresses like Theresa Wright were referred to as 'girl next door types', since we all secretly wished we really had such girls next door. The villain in this film is played by Dean Jagger. He plays a well-mannered man, skilled in all the social niceties, who after smiling at you will without any fuss at all pull out a gun and shoot you dead, then go back to filing his fingernails. Jagger was always good at playing such characters, namely sophisticated psychopaths. He would have made a good 'world leader'. I don't know why he reminds me of Dominique Strauss-Kahn, it must just be my imagination. Anyway, this film is really very good because the mystery of why 'they' are after poor, uncomprehending Robert Mitchum, continues all the way through and right up to the very end of the film. We keep wondering who and especially we wonder why. For once, someone's paranoid fears are shown to be justified. That must give comfort of a kind to us all. These days, of course, it is the IRS, but back then it was humans rather than humanoids who were the threat. The film also has a powerful continuing love story, namely the love between Mitchum and his adoptive sister Theresa Wright, whom he wishes to marry. Judith Anderson plays 'Ma' with grim jaw and a determination to forget the past. But the past catches up with everyone, and it has to be faced, even by her. Finally, at the end, we find out what it is all about, but not until we have run out of ideas of our own as to what can possibly have motivated the relentless vendetta.

The theme of 'Pursued' is violent revenge. Don't forget that this was made shortly after WWII ended, so that the theme of men returning from combat, and the constant threat of death, was something everyone was conscious of; it's almost as if Jeb has PTSD (the 'black dog riding his back'), and death follows him, through no fault of his own, throughout the movie. The premise isn't complicated at all: a man brought up to love the daughter of his adopted family kills her brother - the fact that her family killed his is a bit irrelevant; see below. When Thorley reveals her intention to murder Jeb on their wedding night, I have to concede that it's a little unconvincing, but this is a limitation of Teresa Wright's performance, which is too wholesome - if she'd played it a bit sexier, more hot-blooded, she'd be much more believable. In terms of the 'operatic' plot, it's completely logical; two men have had a go at Jeb, now it's a woman's turn, and the stakes are even higher. Jeb phlegmatically welcomes death each time, and each time it turns out that he's the only one with the true killer instinct. The posse coming for Jeb is his real nemesis, and it's here that the happy (happy? Your mother-in-law shoots the guy who shot your father just as they're about to string you up?) ending lets the movie down; Thorley should have sacrificed herself to save Jeb and redeem herself and the Callums, but presumably this was thought too depressing for 1947. This would have dispensed with all the desperate last-minute exposition, too. The camera work is sublime, and Judith Anderson does a great Ma-in-law from Hell. I wonder what Elvis Presley would have made of the role...Mitchum shows just how far ahead of the 1950's beefcake field he was.