The Americano

I won't write 4 paragraphs about the plot. I wanted to see this movie again from another perspective. In the 50s to 1966 when Eric Fleming was killed in Peru filming an adventure movie, studios did some live filming on field locations because the tourist industry, airlines, people with vacation money wanted to see Panama, Brazil, Morocco etc. I like to watch on location movies with Ford and other actors. This one is good for the location filming but shallow. Glenn Ford displays again his excellent horsemanship. he was considered of the top 3 riders of that time. 2 high jumps and 3 running mounts. I can watch a whole movie of him riding. This is 1 movie where its not about him in a romance, so his acting has more character. For as much as this story could have contained, it was spread out evenly. Glenn was great, movie is good.

The main problem with The Americano I feel is it's a film that should never have been undertaken by a studio that was on its way out. Yet RKO was in fact lucky enough to get this thing done and released at all. At least one member of the original cast, Sarita Montiel, never finished it and her scenes had to be reshot with Abbe Lane.

The Americano is a story about a Texas cattle breeder who has bred three prize Brahma bulls and is selling them to a rancher in Brazil. Glenn Ford as the rancher hopes that the money will help him and his brother get started on a new place of their own. He's accompanying the bulls to Brazil and is expecting to get $2500.00 for them.

Of course when he gets there his potential buyer is dead and Ford is soon involved in a local range war, something you've seen in a gazillion American westerns. The dead man's partner, Frank Lovejoy is himself the he bull of the valley trying to push out the other smaller ranchers and farmers like Ursula Thiess.

It was an ambitious undertaking that RKO did, a studio that was on its last legs since Howard Hughes sold it and didn't want it for a plaything any more. The location shooting in Brazil is the best thing about The Americano. A studio like MGM or Paramount should have done this film, with a better story. As it was the film shut down and then was completed stateside in California because it ran out of money. Ford walks through the film looking like a man who was worried his salary check wouldn't clear.

Cesar Romero has an interesting if undefined role as a local bandit who winds up helping the local police. As for Lovejoy there is an interesting gay subtext to his role. He tries to get Ford to stay in Brazil and partner with him, but Ford says he has to get back to Texas and his family. Then Lovejoy pays him and then sets up a robbery where one of his own men is killed so Ford has to return. Now just why was he craving Ford's company so much?

Ford's got eyes for Ursula Thiess though and when he's forced to choose a side, his duty is clear. That upsets Lovejoy even more.

The panorama of the Amazon forest deserved a film of the epic sweep of Gone With The Wind or even Duel In The Sun. What it got was a warmed over range war plot that could have come from a Roy Rogers film.

What an interesting story, this western made in Brazil. As also was Hugo Fregoonese's SAVAGE PAMPAS, made ten years later in Argentina. During those golden years for western, it was very rare that those films were not made in the USA, Mexico, Spain or Italy...The story however brings nothig really new, besides those new settings for an American western. Good pace, solid acting, convincing directing elements; only the story is not flawless. Frank Lovejoy is excellent in this film; I don't remember he made other films with Glenn Ford, besides this one. William Castle will abandon this kind of films a few years later for his famous horror gimmick films cycle. His best part.

AMAZON but not really,the river scene...no...piranha.no man a geography mess..The sad thing is they come to our contry to film this thing ,they shot in cool location but for them to sell they have to put the label AMAZON..JUNGLE ...sad man.they shoot in MATO GROSSO nice place i like that but AMAZON ..stereotypes only and the language PORTUNHOL a mix between portuguese and spanish man stereotype ONLY but i already went to wacth knowing that would happen because...AMERICANS..and..GEOGRAPHY dont go together but its not good and itsnot bad i DIG it had fun nothing compromising long that gets boring..NOT BAD!!!

This is a much better Technicolor production than many of the other Castle films of the era. Castle brings back his oblique staging/blocking and adds some interesting low and high angle shots (which had been poorly employed in preceding Castle films) in order to develop a clear psychological motivation for the titular character. The shot-reverse-shot construction is more subtle than previous Technicolor Castle films, making the suture smoother and thus more endearing for the spectator. Depth of field creeps back into Castle's stylistic system in this film, aided by picturesque natural exteriors. Castle plays around with montage again, purposeful as ellipsis and appropriate to plot progression. I am reserved in labeling certain elements of the production as budget due to the possibility of a poor transfer for the copy I viewed (in particular I am referring to the cross-cut shots of wild animals). The script is more natural and a nice fit for the milieu of the film - real people talking honestly to each other. Pace slows and shot-reverse-shot construction gets sloppy half way through the film but is compensated for by some frantic action sequences that distinguish a morality for Ford's character that drives the rest of the narrative forward. There is a nice song (musical number) tri-functional as entr'acte for the story, prompt for budding romantic subplots and homage to the chanchadas of Brazil (ironic, given that after all the Columbia Pictures distribution of Castle's films that The Americano was released through RKO). It was at this time that Columbia Pictures's exploitation of the Brazilian film market was reaching critical mass and spurring the development of the Cinema Novo counter-cinema movement. Dramatic confessions under extreme duress perfectly mirror Castle's The Chance of a Lifetime (1943) and tease out a neat closure to a film that operated with few plot contrivances.