Colton: An Army Wives Novel
Julie London appears as the sexually frustrated wife of an army commander Gary Merrill , and while she's certainly beautiful enough for the role, her acting is slightly more stilted and wooden than that of Kim Novak. One neat bit of trivia: This is the only film to co-star the great athlete Satchel Paige, as a 'buffalo soldier' - and here's yet another innovation, for you'd have to search hard and long to find an earlier Hollywood film that depicted members of the black army of the west. Overall, a very good show - not too much action, but gorgeous color and music,, characterizations, and overall atmosphere.
The Wonderful Country () - The Wonderful Country () - User Reviews - IMDb
He becomes involved in Mexican civil disputes and decides to extricate himself too late. The script brings the characters to life and reveals themes of self-loathing battling the ego in an extraordinary but low-key manner. The character performances are all convincing with the exception of a slight case of oversincerity on London's part. Gorgeous location filming in the deserts and in a Mexican town shot from a hilltop. The action scenes are pretty routine, but they and pretty much everything else is handled in a fairly realistic style, which adds greatly to the film's appeal.
Wonderful Countries sol- 10 April Nursed back to health from a broken leg by the residents of a small US town, an American-born illegal arms dealer becomes torn between whether to return to Mexico, where he has lived most of his life, or stay on in America in this Technicolor western starring Robert Mitchum. As it turns out, Mitchum has quite some history, residing in Mexico to avoid being arrested for avenging his father's murder, yet with so many welcoming him with open arms, offering him jobs and declaring that he should stay "this side of the river The title is intentionally ambiguous; it is never clear whether the USA or Mexico is meant to be the wonderful place.
The plot is not really helped though by the inclusion of Julie London as a love interest in the town. She is married and it is hard to root for Mitchum when he convinces her that she must not really love her husband on account of a few glances. London is pretty dull too, and then as a self-defense incident forces Mitchum to make up his mind between the US and Mexico, it feels a case of too much being thrown on the plate here. The film's best moments are the quieter ones in which Mitchum sits and genuinely ponders over which side to join.
There are enough of these moments to keep the film chugging along, but it is a little hard to enthusiastically recommend it. I give this movie an E for effort - Mitchum plays an American who had escaped to Mexico in his youth after a violent episode and has grown up working for the local bandits controlling that part of the country. When sent to a US border town to negotiate a weapons deal, he breaks his leg and spends enough time in he US to realize he could make a life for himself with a brighter future - of course things go wrong.
Based on a novel by Tom Lea, a forgotten writer of westerns, and staring along with Robert Mitchum in the romantic triangle is Gary Merrill as the local cavalry boss and Julie London as his unhappy wife. What makes it all interesting is the fact that the movie never quite "jells"- Mitchum tries his best against a cast of grade B actors and his performance mostly works. The worst performance is from Julie London who not only is dressed incongruously but looks and acts like a robot.
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The scenery is spectacular and is the winner in this movie. Add the use of over the top music, and this movie presages the Spaghetti Western. I loved the story of this man unjustly accused who has to run across the border and use his gunslinger skills to become a mercenary in a Mexican civil war. Upon seeing it in color I was even more blown away by the cinematography and the depiction of the countryside.
Mitchum finds a perfect role for his laconic style, seemingly tossing in with one side that's no better than the other, always keeping within him the hope of returning to his home. It's also probably the best thing Julie London ever did on screen. But it's the story and how the country and the conflict are presented that make the movie. Not a particular shoot em up type western but a film about belonging and extricating yourself from a bad lot when down a blind alley. Just watch as he reacts to the little kindnesses as he recovers from his injury or the final scene with his beloved horse, lovely low key acting.
Beautiful photography too. Passes a lazy afternoon very nicely.
I think this movie is one of the better movies I'v seen and I have seen a lot of movies in my life time. I really like some of the lines in the movie. Like close to the end of the movie. They Martin Brady and Helen Colton are sanding next to the wall of a old mission talking to each other about what they had done. Helen make's the remark that she is ashame of the feelings she has for Brady knowing that her husband is not in the ground yet. Brady replies by saying what we did may have been wrong but the feelings they have for each other are not.
Helen replies to him. Is'n it a pity then that life is what we do and not what we feel. At the last part when Brady had to shoot his horse named Tears. That got to me as I had a small dog and I loved her much. I had to put her down, her name was Tears. Maybe I'm just a old corn ball from the pass. But some movies and the words in them get inside of me. I like that. They will always be apart of me and my life. The film centers on a mercenary Yankee , Martin Brady , well played by Robert Mitchum crossing Rio Grande - a recurring image- and he painfully rediscovers the burdens and blessings of home and belonging as well as pursuit , treason and love.
Brady was as proud as the mighty black stallion- called Tears- he rode This one deals with a stateless person at a mighty adventure. A yankee soldier of fortune , Robert Mitchum , playing both sides in a blazing gunrunning , as he does a spot of weapon smuggling in Mexico.
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As the Gringo mercenary crossing the river , as he runs into problem with Apaches and Mexican people , at the same time being relentlessly chased by the Castro Brothers : Cipriano Castro Pedro Armendariz and Gen. Corruption , violence and continuous treason reflect different aspects of his situation, though he attempts to take a honest way.
File NLW Facs 574. - Emma Goldman letters to James Colton,
Then , Mitchum falls for the commandant's unhappy wife Julie London ; crossing swords with her husband , an Army commander Gary Merrill. Sun-Burned and Gun-Burned Like the Violent Land He Rode! They all came to this violent land on the edge of a continent! Bursting with attractive characters, thought-provoking themes , sub-plots , symbols , and with very decent filmmaking and interpretation.
Photographically with portentous images and musically , it's a continuous treat , being based on the homonymous novel by Tom Lea. The picture centers on Mitchum , a gringo mercenary operating South of Border in a gun-running mission , as he finds out the blessings and the distresses of the Mexican territory.
Here Robert Mitchum grapples rather unsteadly with his role as a gunrrunner who ends with his heart in the right place. Robert gives a lively as well as easy acting as an extremely ambitious dealer to get his objectives.
The gorgeous eye-candy Julie London is pretty good as the unlucky wife with a thunderous life. His husband is finely performed by Gary Merrill who takes advantage from a good character. Interesting and well structured screenplay by Robert Ardrey , based on a successful story from a novel by the artist Tom Lea , who has a cameo as a barber. And a sensitive and rousing musical score by the classy composer Alex North, adding marvelous Mexican sounds and songs.
It premiered on October 8 , and exhibited by United Artists. Parrish initiated the movie by buying the novel copyright and he hired the notorious screenwriter Robert Ardrey and subsequently Robert Mitchum and Chester Erskine were interested in it. Robert Parrish was an Academy Award-winning film editor who also realized and acted in movies. As an editor he won an Academy Award for Body and soul , the Robert Rossen film that starred John Garfield as a money-grubbing, two-timing boxer on the make.
Parrish also worked on All the King's Men , an account of the rise and fall of a Louisiana politician that won the Academy Award for Best Picture. Parrish then moved on to direct films during the s and s.
Robert Parrish's other notable Western is called 'Saddle the Wind'; this one should be called 'Unsaddled by the Wind'. This, unceremoniously, is what happens to craggy Martin Brady near the beginning of this marvellous Western, as his horse is humiliatingly felled by some breezy tumblewood, and the aging gunslinger breaks his leg, perhaps a punishment for disobeying his employers, the all-powerful Mexican brothers Castro oh yes! As the s drew to a close, the traditional Western was about to be eclipsed: the genre was full of these low-key, elegiac tributes to the traditional Western hero, the pioneer forever blocked by his murderous past from entering the community he helped forge; 'The Searchers' is only the most famous example.
Brady's case is even more troubled than Ethan's, trebly exiled from comforting notions of home. He is an American raised in Mexico, with a pronounced Hispanic accent, claimed by both countries, but for selfish, ulterior, practical reasons he is an excellent tracker and gunman ; both despise him for his rootlessness. The film takes place around the Rio Grande, the legendary border between the US and Mexico, and this is the border Brady must frequently cross, the dividing line in his identity. Significantly, this split was occasioned by the need to flee after the vengeful adolescent killing of his father's slayer - this personal dislocation is linked, generically, to a wider instability, a rueful recognition of the lack of continuity between a nation and its past.
Typically, this instability is inscribed in the body, the dirty, aging, sagging, smelly, hairy body of Brady, self-encrusting like a Beckett character, which only has to tumble in the wind to break.