Ahah! The Forgotten is postponed to next week, it seems, due to the extensive Berlin coverage at The Notebook. Meanwhile…
Finally watched EL DORADO, which a lot of people portray as being a thoroughly inferior copy of Howard Hawks’ earlier Wayne western, RIO BRAVO (they share a writer, Leigh Brackett, but she kept warning Hawks that he was repeating himself — he didn’t care). I found it very enjoyable. Wayne is Wayne, a little older (visibly struggling to mount his horse, but bizarrely elegant crossing a room and kicking an opponent); Mitchum is Mitchum, which ought to make him a worthy substitute for Dean Martin, but the role is less well-crafted; James Caan is a huge improvement on Ricky Nelson. Arthur Hunnicutt subs for Walter Brennan, as he often did, most skillfully. Angie Dickinson is replaced by a couple of women characters who don’t get much to do — westerns didn’t seem to allow Hawks to push his heroines as far into one-of-the-boys territory as he could manage in other genres, although I bet h could have had fun with a JOHNNY GUITAR scenario if anyone had encouraged him. A LOT of fun.
“How will you get down?” Wayne is asked, when the injured gunfighter proposes riding into battle against impossible odds on a cart. “That’s easy, I’ll fall down.”
We also get strong support from Ed Asner, R.G. Armstrong and Christopher George, who could have had a very good career if confined to bad guys. He’s really not appealing as a hero, though it probably doesn’t help that the two leading man roles I’ve seen him in are THE DELTA FACTOR, a horrible Mickey Spillane thing that nearly did for director Tay Garnett, and CITY OF THE LIVING DEAD. Here, he’s an amoral professional, not viciously evil but willing to do anything for a buck: Wayne’s character treats him with wary respect (which is to say he kills him as soon as he gets a chance).
The very end is somewhat muffed, though, with the expected romance shoved offscreen and the laid-back conversational coda between Wayne and Mitchum ineffectually stretched across two scenes. They’re both nice scenes, but they’re kind of the same. Makes me wonder if Hawks were ever good at endings? He didn’t care about PLOT, famously. I slightly cringe at HIS GIRL FRIDAY’s fade-out (don’t want it to end on Rosalind Russell crying) though I love the rest of it as much as you’re supposed to, maybe more; RED RIVER, by the very nature of its story, has to cop out at the end to avoid becoming a tragedy; I can’t actually remember the ending of THE BIG SLEEP, though I expect it’s a clinch or at least a sly look between the leads — as Manny Farber points out, that movie creates so much goodwill in its first four sequences that it can coast along for the rest of its runtime without worrying about producing anything specially memorable.
So, a question for everyone: what are the classic movies you love which don’t quite work right at the end? And not for reasons of studio interference, but because the writers/directors got it wrong. I’ll kick things off with this one and MR SMITH GOES TO WASHINGTON. When it played on TV, its screenwriter, Sidney Buchman, would switch it off before the failed suicide bid Capra added for extra weep value. I think he’d have been far better having Jimmy Stewart wake up and learn he’s won — we may be able to figure out for ourselves that would happen, but wouldn’t it be more emotional to SEE it? Still find it extraordinary that the film ends with the hero unconscious.
Let’s hear from you!