It is 1892 in Death Valley and the yields from the Borax ore are getting so small that refining it is a losing proposition. The only thing that will save the company is a new deposit of ... See full summary »
Phoebe Titus is a tough, swaggering pioneer woman, but her ways become decidedly more feminine when she falls for California bound Peter Muncie. But Peter won't be distracted from his ... See full summary »
Quirt Evans, an all round bad guy, is nursed back to health and sought after by Penelope Worth, a Quaker girl. He eventually finds himself having to choose between his world and the world Penelope lives in.
When his cattle drivers abandon him for the gold fields, rancher Wil Andersen is forced to take on a collection of young boys as his drivers in order to get his herd to market in time to ... See full summary »
Governor Price sends Sunset Carson to investigate a smuggling ring which is baffling the Border Patrol. Newspaper woman Ann Morton is working incognito in the saloon waiting for a break on ... See full summary »
It is 1892 in Death Valley and the yields from the Borax ore are getting so small that refining it is a losing proposition. The only thing that will save the company is a new deposit of high grade Borax, and Bill has a pouch of it that he got from a dead prospector that he buried on the road. Roper knows the value of the strike could be worth millions, but he needs Bill to find the prospectors' claim so they can record it and become rich partners. While Roper has no intention of cutting Bill in on the millions, he also has his eye on young Jean. Josie sees Roper for the scalawag that his is and it means trouble in Furnace Flat. Written by
Tony Fontana <firstname.lastname@example.org>
Skinner Bill Bragg:
Let's scratch some sand over him and keep the buzzards from picking him to pieces.
Pretty soon wind comes some more, blow sand off and coyotes dig him up just the same.
Skinner Bill Bragg:
Ain't you got no respect? It's the idea of the thing. Now get to scratching.
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If you enjoy the late Beery westerns made for MGM (Bad Bascome, Jack, etc) then this will be a particular pleasure. Mercifully free of the cute moppets that blight some of Beery's other starring vehicles, 20 Mule Team provides excellent entertainment value, as well as surprising quality.
As Beery grew older and took on more westerns, so he came to look much more of a natural western star. His face become more lined and resigned, until by the time of the 40's his exterior (and acting abilities) gave his western roles a weary gravitas - recalling that achieved by a similarly ageing Randolph Scott in his acclaimed cycle of film with director Budd Boetticher a decade or so later (The Tall T, Ride Lonesome etc.)
20 Mule Team must be one of those few westerns which deals with borax transportation and exploitation as a central plot point. But don't let this put you off as, despite a somewhat melodramatic plot (evil stranger preys on local virgin, claim jumpers & etc) the weaknesses are more than offset by the strength of the location cinematography for the exterior scenes, and Beery's presence and range. Here he has the opportunity to display his talent to the utmost, playing by turn a hard nosed villain, sentimental buddy, comic louse and clumsy lover all the while as the camera revels gratefully in his lumbering presence.
Overall the characters in the film are dominated by the stark landscape of desert and rocks which lays outside the Borax mining town ... a contrast of light and shade, black and white, that reflects back in turn the stark moral choices open to the inhabitants.
In the most impressive scene in the film, Beery resigns himself to death in the desert after a shoot out with the villain. His friend (played throughout with characteristic irony by familiar Beery side kick Leo Carrillo) has been mortally wounded, and dies while he watches. Wounded himself, he settles down on his own, into the scorched sand and curses the blasted landscape believing (as we do then) all hope lost. The camera watches Beery, blankly verbally assailing the wilderness condemning him for a long minute, slowly tracking back in a single take. This movement is both beautiful and moving, emphasising the starkness of his fate. Whether intended or not, this powerful scene also recalls the end of Stroheim's Greed, and is an extraordinary moment in a studio product of this sort.
Beery's Westerns are overdue for reassessment.
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