mlraymond Review of The Left Handed Gun

The Left Handed Gun (1958)

Unconventional, unpredictable western is fascinating study of Billy the Kid

[10/10 · 23 December 2006]

The tragic early death of James Dean prevented what would have undoubtedly been another memorable screen performance by the gifted young actor in the role of Billy the Kid. But Paul Newman gives a splendid performance as the legendary western outlaw, in one of his best roles. What is truly amazing is to watch this 1958 movie, and see how clearly it anticipates Arthur Penn's Bonnie and Clyde, nearly ten years later. There is the same casual portrayal of violence suddenly coming out of nowhere, the mass confusion and panic of a gun battle with the action ambiguous about what's happening, a woman running around frantically amid all the gunfire, trying to hold on to some kind of normalcy in an insane situation, the representatives of the law often seeming as corrupt and violent as their outlaw counterparts, treacherous ambushes, hairsbreadth escapes, the almost accidental involvement of the youthful outlaws in a life of crime, the public and media fascination with the supposedly glamorous deeds of the criminals. There is even a scene containing a line that is used almost word for word the same in Bonnie and Clyde. A deputy tells a group of kids to go away and quit peeping at Billy in his jail cell. The kids explain that they've never seen anyone famous. Newman portrays an amoral character who isn't so much an outlaw ,as a confused young man with a primitive sense of justice, and an unnerving tendency to find trouble anywhere. At least one character remarks that it's dangerous just having him around, because trouble follows him everywhere. His youthful partners in crime are extremely well played by James Best and a lesser known young actor, James Congdon. All three of the outlaws are shown with a convincing realism that is unusual for the average western. All the supporting players are excellent, including John Dierkes as a mentor who tries to steer Billy away from a life of crime, John Dehner's Pat Garrett who is a likable but world weary man, for whom friendship with Billy is a problem, Lita Milan as the young Mexican wife of an older man, to whom Billy is irresistibly drawn in an affair that will inevitably provoke disaster. Most of all, there is Hurd Hatfield, as a strange, sycophantic character ,who inexplicably attaches himself to Billy. The ambiguity of this character, and Billy's attitude toward him ,are open to any number of possible interpretations, ranging from a homosexual attraction, to misguided hero worship, to a desire to profit financially, by selling dime novels with fictionalized tales of Billy's exploits. There is no doubt that screen writer Vidal was clearly having some sly fun by portraying the Hatfield character as a Judas who becomes disillusioned with Billy, and offers to tell lawman Garrett where to find his elusive quarry. When Hatfield comes into a saloon where Garrett is tending bar, and slouches tearfully up to the bar, he all but asks Garret for thirty pieces of silver. The final showdown, with Billy refusing to fight, and letting Garrett kill him, ends with the dead outlaw falling on his back on a horizontal wooden beam, arms outstretched in an unmistakable crucifixion position. This is a compelling drama with fine acting, suspense, action and humor. It would make an interesting double bill with Penn's Bonnie and Clyde. Definitely worth seeing for Newman fans and western history buffs, as well as anyone who enjoys a good movie of any type.