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The Ox-Bow Incident (1943)

Not Rated | | Drama, Western | 21 May 1943 (USA)
When a posse catches up three men suspected of killing a local farmer, some of them become strongly divided on whether or not to lynch the men.

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Writers:

(written for the screen by), (from the novel by)
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Nominated for 1 Oscar. Another 5 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
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Art Croft (as Henry Morgan)
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Judge Daniel Tyler
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Arthur Davies
Frank Conroy ...
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Jeff Farnley
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Monty Smith
Victor Kilian ...
Darby
Chris-Pin Martin ...
Poncho
...
Sheriff Risley
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Storyline

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>

Plot Summary | Plot Synopsis

Taglines:

"DARING"! One of the finest pictures ever made! says Damon Runyon See more »

Genres:

Drama | Western

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

21 May 1943 (USA)  »

Also Known As:

Conciencias muertas  »

Filming Locations:

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Box Office

Budget:

$565,000 (estimated)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Henry Fonda always regarded this as one of his favorite films. See more »

Goofs

Juan Martinez throws a knife that lands right next to Farnley's foot. If you look closely you can see a thin wire attached to the end of the knife, indicating that first the scene was filmed with the knife being jerked backwards by the wire, then the film was played in reverse, to give the desired illusion of the knife landing at Farnley's feet. See more »

Quotes

Jenny Grier: [when Juan finally speaks English after pretending he only knows Spanish] So, he speaks American!
Juan Martínez: And ten other languages, my dear - but I don't tell anything I don't want to in any of them.
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Crazy Credits

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 »

Connections

Referenced in Mystery Science Theater 3000: The Killer Shrews (1992) See more »

Soundtracks

Red River Valley
(uncredited)
Traditional
Played at the beginning and end of the film as well as at the camp site prior to the hanging
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Frequently Asked Questions

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User Reviews

 
There can't be any such thing as civilisation unless people have a conscience.
28 March 2008 | by (United Kingdom) – See all my reviews

The Ox-Bow Incident is directed by William A. Wellman and adapted to screenplay by Lomar Trotti from the novel of the same name written by Walter Van Tilburg Clark. It stars Henry Fonda, Henry Morgan, Dana Andrews, Mary Beth Hughes, Anthony Quinn, William Eythe and Jane Darwell. Music is scored by Cyril J. Mockridge and cinematography by Arthur C. Miller.

Gil Carter & Art Croft ride into the town of Bridger's Wells, they hit the local saloon to imbibe after a log hard cattle drive. Whilst there a man runs in and announces that a popular man from the town has been shot by rustlers. The sheriff is out of town and a lynch mob quickly forms to bring what they see as swift justice to the culprits, Gil & Art join the posse so as to make sure they themselves don't get blamed for the shooting. The posse finds three weary workers and convince the majority that these guys are guilty and that instant hanging is the only way to do things. There are, however, one or two dissenting voices......

What a fabulous movie this is, a powerful indictment of how the lynch mob mentality can grip and lead to pain for many. William Wellman directs superbly, with a big ensemble in such a small area (Ox-Bow), he manages to get the right blend of emotive reactions from the leading players. Henry Fonda as Gill Carter is perfectly sedate and compassionate, even though he is far from being a flawless character, Dana Andrews as Donald Martin is heart achingly real, while others like Frank Conroy as Major Tetley are suitably full of ignorant bluster. It's quite an experience to see Wellman pull them all together with so much style. The photography from Miller is excellent, shadowy low tone black and white that is in keeping with the downbeat nature of the film, it infuses the picture with a gritty hard bitten noirish look. While Mockridge scores it suitably as sombre.

Ultimately it's the story that triumphs the most, claustrophobic in nature, it is simple yet tragic as it spins out to tell us how a group of seemingly sane individuals turned out to be a mass of incoherent reasoning. When a letter is read out during the finale, it is devastating in its effect, we see men broken, heads bowed in shame, others heavy in heart, their lives never to be the same. The emotional whack is hard hitting, and rightly so. For this is unashamedly a message movie, and a worthy one at that, so much so its reputation has grown over the years, where both the film and novel have made it into some educational curriculum's. It's very much a landmark Western, by choosing to forgo action for dark characterisations, it opened up the Western genre to being more than just shoot-outs and trail blazing. Had it been made seven or eight years later I think it would have garnered higher critical praise.

In spite of being one of Fonda's favourite movies that he made, the film didn't make money. The public were not quite ready for such sombre beats (Orson Welles, tellingly I feel, loved it), the critics of the time were irked by Wellman's decision to film the key trial and lynching sequences on the stage. Yet the closeness this gives the narrative serves it well, thrusting the many characters close together so they, and us, can see the whites of everyone's eyes, this is about focusing on the faces of those about to commit a capital crime. The close confines also gives off a pervasive sense of doom, where pessimism seeps through, there is no short changing here, the makers are dealing in bleakness and the right choices are made to produce one of the finest and most upsetting exponents of mob mentality played out on film. 9/10


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