A cattle-vs.-sheepman feud loses Connie Dickason her fiance, but gains her his ranch, which she determines to run alone in opposition to Frank Ivey, "boss" of the valley, whom her father ... See full summary »
Outlaw Wes McQueen is sprung from jail to help pull one last railroad job. He doesn't like his new partners - except dance-hall girl Colorado - and anyway fancies Julie Ann newly arrived ... See full summary »
Pop, a security guard at Paramount has told his son that he's the head of the studio. When his son arrives in Hollywood on shore leave with his buddies, Pop enlists the aid of the studio's ... See full summary »
Dozens of star and character-actor cameos and a message about the Variety Club (show-business charity) are woven into a framework about two hopeful young ladies who come to Hollywood, ... See full summary »
Olga San Juan,
In rural 18th-century Indiana, the three daughters of a Civil War veteran are courted by three young men--one a sophisticated city slicker who sells phony oil stock, the second a local eccentric and the third a stolid country boy.
The friendship of three Texas Ranchers. Later their ranch was destroyed by Cotrell, of the Union army,and his band of outlaw raiders. The original title was "Distant Drums", this was a description of Civil War army deserters.
A cattle-vs.-sheepman feud loses Connie Dickason her fiance, but gains her his ranch, which she determines to run alone in opposition to Frank Ivey, "boss" of the valley, whom her father Ben wanted her to marry. She hires recovering alcoholic Dave Nash as foreman and a crew of Ivey's enemies. Ivey fights back with violence and destruction, but Dave is determined to counter him legally... a feeling not shared by his associates. Connie's boast that, as a woman, she doesn't need guns proves justified, but plenty of gunplay results. Written by
Rod Crawford <email@example.com>
Contrary to previous reviews of Ramrod, de Toth's film is much more interesting than a "simple cattle vs. sheep" plot-driven western. Just look at Lake's Connie Dickinson. This is a typical femme fatale archetype taken straight from film noir (realistically, the character derives from hard-boiled pulp literature which Luke Short fused with his western story).
Sexually alluring Connie uses her potent sway over men to achieve her greedy ambitions of wealth and power, and is unafraid to send men to their deaths for her cause. Connie's strength of character is atypical of the western genre at this stage, and her strength seems to come from the relative weakness of the film's hero, played by Joel McCrea; who seems to lack the strong sense of moral certainty that the typical westerner was founded upon.
Along with Raoul Walsh's Pursued (1947), and Robert Wise's Blood on the Moon (1948), Ramrod stands as one of the few hybrids between film noir and the western. Regardless of your standpoint on the status of film noir, all of these films contain typical elements from the pessimistic noirs of the 40's and 50's, particularly formal and stylistic devices, as well as recurring personnel, especially directors, stars (ie. Robert Mitchum), and cinematographers. Crucially though, the western genre before this stage was a particularly optimistic one; look at Stagecoach (John Ford, 1939), Dodge City (Michael Curtiz, 1939), or even My Darling Clementine (Ford again, 1946); the three films I mentioned beforehand, including Ramrod, all offer instances of pessimistic worldviews, and morally ambiguous characters and situations, even though they all end with the hero getting the girl and riding into a westward sunset.
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