IMDb RATING
7.2/10
1.6K
YOUR RATING
After the Civil War, a highly decorated Shoshone Indian veteran plans to raise cattle in Wyoming but white farmers plan to grab fertile tribal lands by pitting the whites against the Indians... Read allAfter the Civil War, a highly decorated Shoshone Indian veteran plans to raise cattle in Wyoming but white farmers plan to grab fertile tribal lands by pitting the whites against the Indians.After the Civil War, a highly decorated Shoshone Indian veteran plans to raise cattle in Wyoming but white farmers plan to grab fertile tribal lands by pitting the whites against the Indians.
IMDb RATING
7.2/10
1.6K
YOUR RATING
- Awards
- 2 nominations
William Bailey
- Posse Memberas Posse Member
- (uncredited)
Rudy Bowman
- Townsmanas Townsman
- (uncredited)
Vivian Brown
- Mrs. Campbellas Mrs. Campbell
- (uncredited)
Roy Butler
- Posse Memberas Posse Member
- (uncredited)
Bertha Cody
- Maryas Mary
- (uncredited)
- Director
- Writer
- All cast & crew
- See more cast details at IMDbPro
Storyline
US Army Sgt.-Major Lance Poole, a Shoshone Indian, returns home from the Civil War a highly decorated war hero, his intention being to live a quiet life on the family farm outside Big Horn in the Wyoming Territory being a cattle rancher. His family has been able to live the dream of eking out a good life off the impoverished reserve where there is little hope of that good life, in the process, while still retaining their traditional ways, being admired by the locals who know him and his family. Things have changed during his time away, anti-Indian legislation enacted in the Territory which has brought many farmers, ranchers and others to the area to homestead, which they are able to do legally on the Pooles' land since the Pooles do not have official title. With lawyer Verne Coolan being an open bigot who would not help any Shoshone even if asked, Lance turns to the only other lawyer in the area for legal advice, he learning on their first meeting that "A. Masters" is Orrie Masters, a woman. In deciding whether to partner in this fight for Lance and the Pooles' rights, both Lance and Orrie will have to address their own prejudices. If she does decide to assist, Orrie will also have to come to grips with her pledge to work under whatever the law in her overall goal of peace and liberty for all. Regardless, Coolan seems intent on destroying Lance - the face to him of Indians in general - inside and outside the law, his seeming aim to incite a range war which would give those wanting to homestead license to kill Lance and his family if the Pooles do not cooperate. —Huggo
- Taglines
- M.G.M. presents a Great Drama of Flaming Frontiers !
- Genres
- Certificate
- Approved
- Parents guide
Did you know
- TriviaAfter an unsuccessful May 1950 press preview, MGM shelved the film. The grim movie was superbly made, but its uncompromising, downbeat story seemed to spell box-office disaster. After the release of the more mainstream Broken Arrow (1950) the following fall, it did get some bottom-of-the-bill bookings in neighborhood grindhouses but did little business and has remained little seen.
- GoofsDuring a thunderstorm the lightning and thunder always exactly coincide. This only happens when lightning is directly overhead as light travels faster than sound. Normally there is some lag time after the occurrence of lightning before you hear the thunder.
- Quotes
Lance Poole: I envy you, ma'am., you being a lawyer.
Orrie Masters: Well, I...
Lance Poole: You got a faith, something to go by... like a religion. With you it's the law.
Orrie Masters: My father wanted me to study law. It means a great deal to me.
Lance Poole: Yes, it must. I've always wanted something like that. Something to tell me what's right or wrong.
Orrie Masters: I'm glad you feel the way you do.
Lance Poole: Because then you don't have to bother about your conscience. It's written out for you to follow... no matter what it does to people. It's the law. And changing the law is something you don't have to worry about.
Top review
The law says an Indian ain't got no more rights than a dog.
Devil's Doorway is directed by Anthony Mann. It stars Robert Taylor as Lance Poole, a Shoshone Indian who returns home to Medicine-Bow from the American Civil War after a three year stint, and a veteran of three major conflicts. Awarded the Congressional Medal of Honor he rightfully expects to be able to retire to a peaceful life back on the family land. However, all his hopes and dreams are shattered by bigotry and greed as new laws are ushered in to deprive the Native Indians land rights.
Biting and cutting, Devil's Doorway is a Civil Rights Western that, boldly for its time, looks at the injustices done to Native Americans. Very much grim in texture, it's no surprise to see Anthony Mann at the helm for this material. Mann of course would go on to become a Western genre darling for his run of "Adult Westerns" he would do with James Stewart. Prior to this Mann had showed himself to have a keen eye for tough pieces with dark themes in a few well regarded film noir movies. So this was right up his street, in fact a glance at his output shows him to be something of a master when it comes to showing minority groups sympathetically. MGM were nervous tho, unsure as if taking the Western in this direction was the way to go, they pulled it from release in 1949. But after the impact that Delmer Daves' similar themed Broken Arrow made the following year, they ushered it out and the film promptly got lost amongst the plaudits for the James Stewart starrer. That's a shame because this is fit to sit alongside the best work Mann has done.
Filmed in black & white, the film has beautiful landscapes that belie the bleak road the movie ultimately turns down. Shot on location at Aspen and Grand Junction in Colorado (the talented John Alton on cinematography), the film also manages to rise above its obvious eyebrow raising piece of casting. Robert Taylor always had his critics, hell I'm sometimes one of them, but here as he is cast against type as a Shoshone Indian, he gives the character conviction and a stoic nobility that really makes it work. Some of his scenes with the beautiful Paula Raymond (playing his lawyer Orrie Masters) are a lesson in maximum impact garnered from emotional restraint. You will be aware of the fluctuating skin pigmentation he has throughout the movie, but honestly look into his eyes and feel the confliction and loyalty and you really will not care.
Scripted by Guy Trosper (Birdman of Alcatraz), the screenplay is unflinching in showing how badly the Native Americans were treated. Throw that in with Alton's other gift, that of the dusty barren land shot, and you got a very film noir feel to the movie. Something which not only is unique, but something that also showed a shift in the Hollywood Oater. We now get brains to match the action and aesthetics of the Western movie. Not that this is found wanting for action, Mann doesn't short change here either, with a dynamite led offensive purely adrenaline pumping.
A fine fine movie, an important movie in fact. One that is in desperate need of more exposure. Still awaiting a widespread home format disc release, I quote Orrie Masters from the movie..."It would be too bad if we ever forget".... that applies to both the theme of the piece and the actual movie itself. 9/10
Biting and cutting, Devil's Doorway is a Civil Rights Western that, boldly for its time, looks at the injustices done to Native Americans. Very much grim in texture, it's no surprise to see Anthony Mann at the helm for this material. Mann of course would go on to become a Western genre darling for his run of "Adult Westerns" he would do with James Stewart. Prior to this Mann had showed himself to have a keen eye for tough pieces with dark themes in a few well regarded film noir movies. So this was right up his street, in fact a glance at his output shows him to be something of a master when it comes to showing minority groups sympathetically. MGM were nervous tho, unsure as if taking the Western in this direction was the way to go, they pulled it from release in 1949. But after the impact that Delmer Daves' similar themed Broken Arrow made the following year, they ushered it out and the film promptly got lost amongst the plaudits for the James Stewart starrer. That's a shame because this is fit to sit alongside the best work Mann has done.
Filmed in black & white, the film has beautiful landscapes that belie the bleak road the movie ultimately turns down. Shot on location at Aspen and Grand Junction in Colorado (the talented John Alton on cinematography), the film also manages to rise above its obvious eyebrow raising piece of casting. Robert Taylor always had his critics, hell I'm sometimes one of them, but here as he is cast against type as a Shoshone Indian, he gives the character conviction and a stoic nobility that really makes it work. Some of his scenes with the beautiful Paula Raymond (playing his lawyer Orrie Masters) are a lesson in maximum impact garnered from emotional restraint. You will be aware of the fluctuating skin pigmentation he has throughout the movie, but honestly look into his eyes and feel the confliction and loyalty and you really will not care.
Scripted by Guy Trosper (Birdman of Alcatraz), the screenplay is unflinching in showing how badly the Native Americans were treated. Throw that in with Alton's other gift, that of the dusty barren land shot, and you got a very film noir feel to the movie. Something which not only is unique, but something that also showed a shift in the Hollywood Oater. We now get brains to match the action and aesthetics of the Western movie. Not that this is found wanting for action, Mann doesn't short change here either, with a dynamite led offensive purely adrenaline pumping.
A fine fine movie, an important movie in fact. One that is in desperate need of more exposure. Still awaiting a widespread home format disc release, I quote Orrie Masters from the movie..."It would be too bad if we ever forget".... that applies to both the theme of the piece and the actual movie itself. 9/10
helpful•2612
- hitchcockthelegend
- Apr 9, 2010
Details
Box office
- Budget
- $1,373,000 (estimated)
- Runtime1 hour 24 minutes
- Color
- Aspect ratio
- 1.37 : 1
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