Fritz Lang's superlative western teeters dangerously on the edge of campness, (it's that infernal 'Legend of Chuck-a-Luck' ballad pounding away on the soundtrack, continually reminding us that this is a tale of 'hate ... murder and revenge'). Then, of course, there is that great gay icon Marlene Dietrich, looking extraordinary at fifty one as Altar Keane, boss of the outlaw hideout Chuck-a-Luck where Arthur Kennedy comes seeking the man who killed his girl in a robbery. In many respects the film is a perfect companion to Nicholas Ray's not dissimilar "Johnny Guitar", made around the same time and both featuring dominant women and weaker men and both dealing explicitly with 'hate, murder and revenge'.
This is a very tight piece of work, thematically dense and psychologically astute and directed by Lang in a truly classical style. It affords all the pleasures that a really good western should while still falling perfectly within a milieu recognizable from many of Lang's American works. "Johnny Guitar's" veiled lesbianism together with Nicholas Ray's growing reputation may have given it the edge but this, too, is a remarkable film, an essential work by one of the cinema's greatest directors.
This is a very tight piece of work, thematically dense and psychologically astute and directed by Lang in a truly classical style. It affords all the pleasures that a really good western should while still falling perfectly within a milieu recognizable from many of Lang's American works. "Johnny Guitar's" veiled lesbianism together with Nicholas Ray's growing reputation may have given it the edge but this, too, is a remarkable film, an essential work by one of the cinema's greatest directors.