D. Mark Robson
Hectic week, but I found time for a second viewing of Roughshod, a 1949 effort from Mark Robson that occupies a unique space among both westerns and the career of Gloria Grahame.
I originally sought it out because I want to see Gloria Grahame in anything and I especially wanted to see her in a western, where being ahead of her time (as she always was in the noirs that made her legend), would be more a challenge than an advantage.
Challenge it may have been, but she made it work. This was probably her first really strong multi-dimensional role, and it can be seen as a bridge between the hardcore sheen she had perfected in the likes of Crossfire (and even It’s a Wonderful Life), and the complex, truly unsettling performances she would give shortly after in In a Lonely Place, Man on a Tightrope and The Big Heat.
I wouldn’t say she’s quite as unsettling here, though she didn’t have it in her to be comforting. But the quality she brought to everything works beautifully in a western–at least in this western, which has a sharp, perceptive script that offers a far more nuanced, sensitive and realistic portrayal of Old West prostitution than the “modern” takes seen in the likes of Unforgiven or Deadwood or even Lonesome Dove.
Grahame’s Mary Wells (there’s a prescient name for you!) is hardly the whole show in Roughshod. There’s the usual fine work by the period child actor Claude Jarman, Jr., a menacing, typically understated turn by John Ireland as the villain (a shot of his face replaces a scene where the last “showgirl” in Grahame’s little troupe is presumably raped and murdered and it’s a wordless forerunner of Johnny Cash’s offhanded line, delivered a few years hence, about shooting a man in Reno just to watch him die). Robson–not known for being exactly actor friendly–gets good work all around here, and keeps a complicated story moving at a brisk pace, helped along by a sharp script that keeps on delivering, both visually and verbally. Robert Sterling is better than I thought on first viewing as the stoic lead, forever trapped by his classic westerner’s inability to convey any emotion not rooted in the mastery of violence and physical hardship it takes to survive in an untamed land.
I could go on. This is not a movie with any weaknesses. It’s the sort of movie where two people whose honor is suspect on every level, give up their lives trying to protect each other from men who don’t care about them one way or another except as a means to finding the man they really want to kill…and don’t much care that killing them will only make their own vengeance task more difficult.
Yes, I could certainly go on.
But Grahame is the center piece.
It’s her dilemma–her skepticism that any new life will really be better than the one she has, tempered by her fragile hope that the one she glimpses behind the Sterling character’s “roughshod” demeanor, just might be–that lifts the movie into something better than fine craftsmanship.
Turns out she didn’t need Nicholas Ray or Elia Kazan or Fritz Lang after all. At least not any more than they needed her.
I wasn’t entirely sure of it on a first viewing, but this one’s going on my frequent watch list. It really does set the stage for the great theme of Grahame’s career–it’s her first three-dimensional character (at least the earliest I’ve encountered) and that character wants what all her great characters want: to be taken on her own terms.
And Mary Wells refuses what all Grahame’s great characters refuse.
To be taken any other way.
If the great western theme–that Civilization should not merely exist, but be worth something–happens to get reinforced along the way?
Well, you won’t hear me complaining about that, either.