August 16, 2012
The Comancheros –
US, 1961
In almost every martial arts film, there is a moment in which
the film’s hero walks into a room and suddenly becomes aware that he is no
vastly outnumbered. To all sides, villainous martial arts experts will begin to
approach him, perhaps even surround him, all the while glaring one of those
sinister looks that reveals just how much they know the advantage is in their
favor. And then, as if their brains had just been collectively shut off, one
person attacks while everyone else stands around and watches. These scenes never
fail to elicit eye roles of incredulity, as they should. I mention this because
Michael Curtiz’s The Comancheros employs
a similar scheme to ensure victory for its undermanned protagonists. However,
instead of ninjas, samurai, or kung fu experts, we get a combination of Native
Americans and Caucasians who seem to think that the best strategy for a gun
fight is to ride straight toward the men that have their guns drawn. And then,
when they see that the strategy is ineffective, they elect to repeat it. You’d
think that someone would rally the troops together and suggest they try
something new.
The Comancheros
stars John Wayne in the role of “Big” Jake Cutter. Cutter is a Texas Ranger in
1843 who is sent to apprehend and bring to justice a man named Paul Regret (Stuart
Whitman), wanted for killing a Frenchman in New Orleans during a piston duel. Unfortunately
for Regret, Cutter arrives at a most inopportune moment, just as Regret has
just spent three days with a woman that he finds himself wishing he could spend
an eternity with. Recognizing Regret’s predicament, Cutter allows him to try to
say goodbye to her. He’s unsuccessful. From there, the film takes us on a bit
of a Western road trip, as Cutter and Regret attempt to travel by horseback back
to Texas, where Regret is to be turned over to the authorities and Cutter is to
receive a reward of $300. They don’t make it far before stumbling upon the
sight of a massacre – an entire family wiped out by Comanche Indians. They are
not strangers to Cutter, and Wayne plays the scene with incredible stoicism –
inwardly grieving, while outwardly doing the only thing he can think of, giving
the family a proper burial. Throughout his career, Wayne excelled at these
kinds of moments, moments in which the tough exterior of the characters he
portrayed came down just long enough to let viewers see his emotional side.
Eventually, The
Comancheros settles into what filmgoers will now recognize as a variation
of the buddy film. That genre calls
for one character to be tough in the beginning but softer as the film
progresses. The other character must be a decent man who just made a mistake. I
imagine that is why the screenwriter gave this character the last name Regret. Eventually,
they’ll become friends and have one grand adventure together before parting
ways, at least until the sequel that is. While this is a somewhat standard
genre today, to audiences in the 1960’s, many of whom were seeing it for the
first time, it must have seemed quite novel.
There are aspects of The
Comancheros that have not aged well and others that have a power that time
and present-day sensitivities will likely never diminish. First, the film is
dated in its portrayal of Native Americans. How could it not be? From its
stereotypical use of drum beats every time a Native American character
approaches to its depiction of them as being nothing more than hostiles and
drunks, the film will no doubt be tough for contemporary audiences, especially
those who grew up watching Dances with
Wolves, Smoke Signals, and Thunderheart. Those films and other like
them expanded the way Native Americans were portrayed on screen, expanding them
into fully developed characters instead of mere caricatures. Here, the Native
American characters are mostly fodder for humor or extras in combat scenes. One
scene in particular left a bad taste in my mouth. You’ll know it when you see
it.
However, there are facets to this part of the film that feel
authentic, as well. It is true that alcohol was used as a means of weakening
some Native Americans, and it is equally true that guns turned conflicts
between settlers and Native Americans much more violent. The film also gets
right the often contradictory nature of some of the heroes during the American
West. In one scene, Regret sees a group of approaching Native Americans and
begins to draw his weapon, only to be stopped by Cutter. These are tame Indians,
Cutter explains. The term is likely to strike many as cruel and insulting, but
I have no doubt that there were brave and decent people who thought this way in
the 1800s. We’re just not asked to root for them in Hollywood films much
anymore.
“Big” Jake Cutter is the kind of role that Wayne generally
excels at, and while Wayne plays the role as well as he can, there are limits
to what he can do. Here, like in 1969’s True
Grit, he’s hampered a bit by a script that asks him to try to be slightly
comical. To make matters worse, for a few minutes Wayne is called upon to do
something that is absolute torture for the audience: sing. If that weren’t bad
enough, the film requires him to perform an encore, which only goes to
demonstrate that the character of Jake Cutter is just as terrible a singer
sober as he is drunk. The singing wouldn’t bother me so much if it weren’t the
beginning of a scene that had me rolling my eyes with incredulity, for what
follows is one of those “only-in-Hollywood-westerns” fist fights in which a
character throws a punch and then stands there waiting for the other guy to
throw one back. Of course, at they end, the two brawlers have proven their
manhood and walk out of the bar together once again singing that awful song of
theirs. Now I have no way of knowing if people really threw down like this in
the Old West, but as it plays out of the screen, the scene seems to be lacking
in authenticity.
To say that this is unfortunate would be an understatement,
for there is much to commend The
Comancheros for. It has two rather compelling lead characters, and some particularly
interesting supporting characters, from the bold and outspoken Pilar Graile
(Ina Balin) to the sweet Melinda Marshall (Joan O’Brien). The first has lines
that cackle with wit and energy, and Pilar has a particular way of interpreting
the phrase I love you that will have
you wondering for a moment whether she’s got it right; the other, Mrs.
Marshall, though only in one scene, has moments of tenderness and subtle
longing that are incredibly moving. When told by her daughter that “Uncle” Jake
is here, we watch as she takes a moment to make sure she looks presentable.
O’Brien’s facial expressions immediately make it clear where Melinda’s devotion
lies. This leads to a conversation between Cutter and Regret about love and
loyalty that is practically priceless.
Problems and all, The
Comancheros ends up a success. It has a thrilling final act, and characters
that are remarkably realistic and involving. Wayne and Whitman play off each
other very nicely, even when the script gives them some rather corny things to
say, and the film provides one of the best character arcs I’ve seen in a John
Wayne film. In fact, by the end of the film, it is clear that both Cutter and
Regret have had a positive effect on the other. It helps that the film is
directed by Michael Curtiz (Casablanca,
Yankee Doodle Dandy), whose most
popular films often involved relationships and acts of heroism. The Comancheros would be his last film. (on
DVD and Blu-ray)
3 and a half stars
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