The most complete, newly restored version of Nicholas Ray's experimental masterpiece embodies the director's practice of filmmaking as a "communal way of life." Ray plays himself in the ... See full summary »
Stephen Torino (Wilde), who is tricked by his brother Marco (Adler) into an arranged marriage with tempestuous Annie Caldash (Russell). Annie is willing to give the union a go, but Torino wants none of it.
Hard, withdrawn city cop Jim Wilson roughs up one too many suspects and is sent upstate to help investigate the murder of a young girl in the winter countryside. There he meets Mary Malden,... See full summary »
Lawyer Thomas Farrell has made a career defending crooks in trials. He has never realized that there is a downside to his success, until he meets the dancer Vicki Gayle. She makes him ... See full summary »
The last eighteen years in the life of Jesse James, showing his home life in Missouri, his experiences with Quantrill's raiders, his career of banditry with his brother Frank and the ... See full summary »
Vienna has built a saloon outside of town, and she hopes to build her own town once the railroad is put through, but the townsfolk want her gone. When four men hold up a stagecoach and kill a man the town officials, led by Emma Small, come to the saloon to grab four of Vienna's friends, the Dancin' Kid and his men. Vienna stands strong against them, and is aided by the presence of an old acquaintance of hers, Johnny Guitar, who is not what he seems. Written by
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Although Philip Yordan is credited as a screenwriter on the film, his contribution to the screenplay actually was written by Ben Maddow, whom Yordan fronted for, splitting the fee with the black-listed writer. See more »
In the beginning of the film, when Johnny Guitar passes by the miners riding, his shadow is projected to his left side. In the next shot it is projected to his right side. See more »
This deservedly legendary western has to be seen to be believed. Directed by Nicholas Ray in blazing color, courtesy of Harry Stradling, Jr., it's western featuring the rivalry between two women, Joan Crawford and Mercedes McCambridge, as they quarrel over two men, Sterling Hayden and Scott Brady, and shake things up in the Old West, Hollywood style, 1954. The film is for all practical purposes experimental. Ray is indulging himself in color, composition and space, nudging the viewer toward laughter at every twist and turn of its convoluted plot. As a purely visual exercise the film is a rousing success. Although Victor Young's music is nice, and the late Peggy Lee does a good job with the title tune, this one's better with the sound off. It is a movie to see, to experience, and very hard to discuss. Lord knows, I've tried. If you can make sense out of it, I'll buy you dinner. My best guess is that Ray was taking all the aspects of film that are traditionally ancillary and incidental, and putting them ahead of everything else. What I like most about Johnny Guitar is the way Joan Crawford's saloon is designed, the undergound cave, the waterfall, the cabin on top of the hill, the moments of intimacy and emotion as they occur in these places, and how the viewer is encouraged to suspend his disbelief of what the story is about and give into his emotions, as the characters give into theirs', and let the devil take the hindmost. Ray succeeded marvelously here, as there's nothing else quite like this one; and the movies in general as far as I'm concerned are still lagging behind it, by several decades.
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