The Ox-Bow Incident (1943)

This movie hurts like in emotional pain when you see what men who are out of control do to other men who are innocent. We are treated to human nature at its worst where the stakes are human lives. Excellent acting and story-line of the Wild West in its raw stages where men wanted law and order but used force to bring it about sometimes incorrectly. Here we are treated to human error except for one thing. Somethings cannot be undone and that's what engages us all about half-way through and doesn't stop until we are spent. We feel the pain of the characters in this movie and go through their phases as they do. There is a mix of characters that allow us to see the story from different points of view. The ending satisfies and also has us wondering for the good as to what happens next. Good movie to eat a sandwich with as they eat meat and bread washed down by hot coffee. Enjoy Dana Andrews Henry Morgan Jane Darnell and a some other familiar faces as they take us into the Ox-Bow incident. Keep in mind that you will see why we have specific laws when it comes to handling perpetrators who are charged with a crime. You will also come to know why we take 13 years to execute a condemned man. We have to be sure

The Western Genre has produced many good and bad films, but occasionally a western rises up above shoot-outs and "saloon fights" to make a wonderful statement. Like "High Noon" and "Shane," "The Ox Bow Incident" is not just a battle between "white hats and black hats" or "Cowboys and Indians." Every so often a western comes along that moves past the genre in a profound way. "The Ox Bow Incident" is such a movie. This writer is an attorney, who is frequently asked "Why even give a murderer who is obviously guilty a trial, why not just execute them." I always respond, "Rent 'The Ox Bow Incident' and you will never ask such a question again." Dana Andrews and company, in this film, have purchased cattle from a man, and are overtaken by a posse looking for the man's murderer. What follows is a gripping two hours of intrigue between those that want quick justice, and those that are willing to let the law take its course. Every performance is very good, and this may be the greatest acting performance for Dana Andrews' career. Without giving you away any spoilers, suffice it to say that this is a tale about how good, indifferent, and bad men view and seek that thing which we call "justice."

It's 1885 and drifters Henry Fonda (Gil) and Harry Morgan (Art) ride into a backwater town where they learn that a popular cattleman has been shot dead and had his cattle stolen. The townsfolk are keen on a quick lynching for whoever is responsible and Fonda and Morgan go along with the posse to detract suspicion from themselves. They don't approve of what is happening along with a few others but they are in the minority. This town wants vengeance. Unfortunately, for whoever they find, vengeance is not the same as justice.Once it gets going, the film is pretty tense as you side against the majority mob led by ex-Army Major Frank Conroy (Major Tetley) and local cowboy Marc Lawrence (Jeff). The audience can sense what the outcome will be but can't quite believe that the film will see it through. I kept expecting that turning point to come and change the course of events. What happened was quite shocking.The cast are all good and the film has a compact running time and effective setting, especially that tree. I don't know how you get a tree like that. My wife reckons that it was struck by lightning. Could be? The film has a bleak ending but I guess we all make mistakes in life. We just have to move on.

We expect something when Henry Fonda, darling of Hollywood, strides into a bar in the west, weary, weathered but eyes alert and focused. A fight, or an argument, or a shootout perhaps. And we also expect him to win it, because, well, he's Henry Fonda. His Gil Carter is not as intimidating as say, his Wyatt Earp, but nevertheless he still has the presence of the leading man, the protagonist, the one who will shake up the small town and its inhabitants. But here is a film that goes against that narrative - he is not the invincible figure who can overcome all odds, and for once the strange powers of mob justice overwhelm everything else. Gil and his companion Art in fact join the posse because they are new in town and drawing lurking, suspicious glances from the folk - what better way to draw attention away from themselves than to take part in their own sport? The film portrays that dangerous allure that can drive mobs to do things that individuals could never even think of doing. Innocents and the naive are dragged along with them, or else for fear of not fitting in, being cast aside, being viewed as weak - as the mayor's son sees himself as. But they don't go about it chaotically. The scariest thing is that it evolves in a way that seems also consequential. The sheriff is missing, so the deputy steps up, and swears to uphold the mob's democratic 'justice'. When they catch their suspects, all the evidence seems to point to them, and the only witness who can prove their story is conveniently dead. At a mere 75 minutes it does not ever drag to that eventual conclusion (with the exception of a rather tame encounter with an ex- girlfriend of Gil's). Slowly, Trotti takes away our hope of the group ever getting a fair trial and justice. Dana Andrews' Donald Martin sells this increasing desperation. It is clear from the very foremost discovery that he is not a murderer or a thief - but no matter how well spoken and passionate he is the mob is not swayed. Indeed, as his most eloquent words are heard he is already dead, but his character shines through. As Fonda gives a stirring rendition of the misplaced morals and justice that has lead to his untimely death, Wellman pans across the bar to all the regretful participants. These events will not leave their eyes for a long time. Funny too, when movie goers don't expect a coward, but then are made to desperately want all these men to be so.