Out on patrol in the war-time desert a Canadian corporal reminisces about the woman he has left behind in London and ponders whether she will fall for the charms of his rival in love. At ... See full summary »
John M. Stahl
Two drifters are passing through a Western town, when news comes in that a local farmer has been murdered and his cattle stolen. The townspeople, joined by the drifters, form a posse to catch the perpetrators. They find three men in possession of the cattle, and are determined to see justice done on the spot. Written by
David Levene <D.S.Levene@durham.ac.uk>
Head of 20th Century Fox, Darryl F. Zanuck, overcame his objections to the contentious nature of the film by insisting that it be made cheaply on studio sets. See more »
Major Tetley enters the parlor of his home where he is presumably alone. A shot is heard and it is clear that he has committed suicide. However, a split second before the scene changes the right-hand door of the room can be seen being opened by someone inside the room. See more »
[talking about Gil Carter]
Whenever he gets low in spirits or confused in his mind, he doesn't feel right until he's had a fight. It doesn't matter whether he wins or not. He feels fine again afterwards.
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At the end of the credits an ad for U.S. war savings bonds is shown on the screen. It says that "15,000 movie theatres are now selling U.S. war savings stamps and bonds! Buy yours in this theatre." See more »
Before "12 Angry Men" there was "The Ox-Bow Incident," a bleaker and never less than fascinating exploration of the nature of mob violence. Unlike "12 Angry Men," this film has no clear-cut heroes. It takes place in a more primitive, wilder time and location, and the principal question at the crux of this movie's conflict is whether or not three suspected cattle thieves should be punished without due legal process. A small group is in favor of letting the frontier town sheriff handle the situation, while a much larger group smells only blood (and in some cases are motivated by personal vengeance) and convince themselves of the suspects' guilt without listening to any of the evidence. It's quite a frightening movie in its own way, and it has a stark look at odds with the average studio film being churned out at the time (1943). Henry Fonda is quite good, as usual, in the closest thing the movie has to a main character, but it seems pointless to single him out in what is obviously such an ensemble effort, and in a movie that only lasts a mere 75 minutes or so and has such a large cast, each actor manages to color his/her character with delightful details, sometimes with no more than a single line of dialogue or one reaction shot.
"The Ox-Bow Incident" is a fantastic film. I don't think it's well-remembered now, but I'm thrilled to see it on DVD and hope that it will be rediscovered.
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