Luc Haasbroek is a writer and videographer from Durban, South Africa. He has written articles for sites like Paste and Briefly.
James Stewart was one of Classic Hollywood's best leading men, starring in some of the most successful films between the '30s and '60s. His early roles tended to be wholesome everymen, but he successfully redefined himself from the '50s onward with darker and more imposing roles in a string of influential Westerns like Winchester '73 and The Naked Spur.
The film represented a significant step forward for the Western genre. Notably, it was one of the earliest Hollywood films to portray Native American characters with substantial empathy rather than as mere villains to be defeated by noble cowboys. Summing up the movie's themes, one Christian character declares that the Bible "says nothing about pigmentation of the skin." Plus, it's simply a brisk and well-told tale , featuring plenty of action and an enjoyable romantic subplot.
Stewart plays the mountain man Linus Rawlings, who goes on to join the Union army. He's joined by a supporting cast chock-full of heavyweights like John Wayne, Richard Widmark, Lee J. Cobb, and Eli Wallach. The characters are either charmingly archetypal or frustratingly two-dimensional, depending on the viewer. The runtime gets a little tiresome , but gorgeous cinematography, neat historical details, and a classic Western fable of good vs. evil carry it over the finish line.
The Man from Laramie was the fifth and final collaboration between Stewart and director Anthony Mann, and it feels like the work of collaborators who understood one another well. Mann’s signature blend of breathtaking Western iconography and emotional conflict is present, but he also serves up a more complex plot with significant mystery elements that play to Stewart's strengths.
This is a more psychological Western with complicated, morally ambiguous characters whose biggest threats are their greed and distrust. The varied protagonists are complemented by beautiful visuals of diverse landscapes, making it simply a treat to look at. "The desert represents only one part of the American West," director Anthony Mann has said. "I wanted to show the mountains, the waterfalls, the forested areas, the snowy summits.
Destry Rides Again is, of course, quite dated now, but it's definitely one of the stronger Westerns of its decade, a lively and engaging film that ably blends action and humor. It's also a successful case of the leads being cast against type. Stewart's performance is spot-on and significantly boosted his profile, but the real star is Marlene Dietrich as the feisty saloon singer Frenchy, a career-revitalizing role for her.
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