The Great Missouri Raid (1951, directed by Gordon Douglas)


During the Civil War, brothers Frank (Wendell Corey) and Jesse James (Macdonald Carey) leave the family farm and fight as Confederate guerillas under the leadership of the infamous William Quantrill.  When the war ends with the Confederacy’s defeat, Frank, Jesse, and their friend Cole Younger (Bruce Bennett) return home to Missouri and discover that their town is being ruled over the tyrannical Major Towbridge (Ward Bond).  With their farms in ruin and having little opportunity to make honest money, the James Brothers and the Younger Brothers soon resort to robbing banks and trains.  It’s their revenge against not only the soldier occupying their land but also the bankers and land barons who have been taking advantage of their friends and family members.  The James-Younger Gang become heroes to economically oppressed people everywhere.

From the minute that they arrive home, Towbridge is determined to imprison the James brothers.  Not only does he distrust them because of their past with Quantrill but he also blames them for the death of his own brother.  Towbridge becomes so obsessed that he even leaves the army so that he can pursue Frank and Jesse as a private detective.  Even as it appears that Jesse might be on the verge of settling down and abandoning his criminal life, he still has to deal with unexpected visitors like the Ford brothers.

The story of Frank and Jesse James inspired several films, some of which were better than others.  Directed with a good eye for detail by Gordon Douglas, The Great Missouri Raid tells the familiar story with enough skill to be watchable but it never reaches the classic status of Walter Hill’s The Long Riders. 

The main problem is that both Wendell Corey and Macdonald Carey come across as being almost too civilized as the James brothers.  The film is obviously sympathetic to the James brothers and, as westerns tended to do in the 50s, it ignores some of the less heroic details of their lives of outlaws.  (The film, for instance, doesn’t mention that the James brothers were probably already outlaws before the Civil War started and it’s doubtful that a modern film would be as sympathetic to two men who left home to fight for the Confederacy.)  Usually, though, even the most sympathetic film portrayals of the James brothers still portray them as being the type of people who you wouldn’t necessarily want to meet while riding the trail.  Wendell Corey and Macdonald Carey play Frank and Jesse as being so nice that it’s hard to believe that they could have even rode with Quantrill, let along the Younger brothers.  They’re the most reasonable outlaws this side of the Mississippi.  Bruce Bennett and Bill Williams are more believable as the rough and tough Cole and Jim Younger.

Not surprisingly, the film is stolen by Ward Bond.  Bond usually played reasonable authority figures for John Ford and Frank Capra.  As Major Towbridge, though, he’s cast as a martinet who allows his obsession with James brothers to turn him into a fanatic.  For those who are used to only seeing Bond cast as a fair cop or a tough-but-fair military officer, his performance in The Great Missouri Raid is a revelation.

The Long Riders is the best movie about the James Gang but, for western fans, The Great Missouri Raid should be entertaining if not definitive.

30 More Days of Noir: The Killer Is Loose (dir by Budd Boetticher)


Film noir comes to the suburbs!

The Killer is Loose opens with the robbery of a savings and loan.  At first, it seems like meek bank teller Leon Poole (Wendell Corey) behaved heroically and kept the robbery from being far worse than it could have been.  How meek is Leon Poole?  He’s so meek that his nickname has always been Foggy.  People have always made fun of him because of his glasses and his bad eyesight.  Everyone assumes that Poole is just one of those quiet people who is destined to spend his entire life in obscurity.

However, the police soon discover that Leon Poole is not the hero that everyone thinks that he is.  Instead, he was involved in the robbery!  When Detective Sam Wagner (Joseph Cotten) leads a group of cops over to Poole’s house to arrest the bank teller, Poole’s wife is accidentally shot and killed.  At the subsequent trial, Poole swears that he’ll get vengeance.  And then he’s promptly sent off to prison.

Jump forward three years.  Leon Poole is still in prison.  He’s still deceptively meek.  He still wears glasses.  Everyone still assumes that he’s harmless.  Of course, that’s what Poole wants them to believe.  He’s still obsessed with getting his vengeance.  Meanwhile, Detective Wagner and his wife, Lila (Rhonda Fleming), are living in the suburbs and have a somewhat strained marriage.  Lila wants Wagner to find a less dangerous and less stressful job.  Wagner wants to keep busting crooks.

When Poole see a chance to escape from prison, he does so.  That’s not really a shock because even the quietest of people are probably going to take advantage of the chance to escape from prison.  What is a shock is that Poole ruthlessly murders a guard while making his escape.  He then kills a truck driver and steal the vehicle.  He then tracks down his old army sergeant and guns him down while the man’s wife watches.  Always watch out for the quiet ones, as they say.

Now, Poole has just one more target.  He wants to finish his revenge by killing Lila Wagner.

The Killer is Loose is a tough and, considering the time that it was made, brutal film noir.  (Seriously, the scene where Poole kills his former sergeant really took me by surprise.)  While both Rhonda Fleming and Joseph Cotten give good performances in their roles, it’s Wendell Corey who really steals the film.  Corey plays Poole not as an outright villain but instead as a man who has been driven mad by years and years of taunts.  After spend his entire life being told that he was a loser, Poole finally decided to do something for himself and, as a result, his wife ended up getting killed by the police.  Now that Poole’s managed to escape from prison, he’s willing to do anything just as long as he can get his final revenge.  Corey plays Poole with a smoldering resentment and the performance feels very real.  (If the film were made today, it’s easy to imagine that Poole would be an anonymous twitter troll, going through life with a smile on his face while unleashing his anger online.)  It brings a very real spark and feeling of danger to a film that would otherwise just be a standard crime film.

The Killer Is Loose also makes good use of its suburban setting, suggesting that both Fleming and Cotten have allowed themselves to get complacent with their life away from the obvious dangers of the big city.  You can buy a new house, the film seems to be saying, but you can’t escape the past.

Look At Me Look At You: Alfred Hitchcock’s REAR WINDOW (Paramount 1954)


gary loggins's avatarcracked rear viewer

When you go out to the neighborhood cinema, you’re indulging in a voyeuristic experience, watching the lives of people unfold before you on the screen. The theme of viewer as voyeur, peeping in on the privacy of total strangers, has never been done better than in Alfred Hitchcock’s REAR WINDOW, nor more entertainingly. Like James Stewart’s protagonist L.B. Jeffries, we the audience are the voyeurs in the shadows watching from afar, stumbling onto things not meant for our eyes, and powerless to stop them without outside assistance. Hitchcock is not only the Master of Suspense, but a master of audience manipulation, and this dazzling piece of moviemaking is not only a hell of a thrill ride but a technical marvel as well.

The world of globetrotting photojournalist Jeffries has been boiled down to the view of the courtyard outside his apartment window, just as the audience’s world is now focused on…

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