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THE MAN FROM LARAMIE (1955) (****)

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Anthony Mann is a director known for his Westerns. James Stewart was an actor who brought great decency to his characters. When Mann and Stewart teamed up, the actor was allowed to explore his darker side. This film was the last Western the star and director would make together and it was their favorite.

Stewart plays Will Lockhart, a former cavalry captain who has bought three wagons and started a hauling business. He rides into the town of Coronado, where his younger brother was killed by Apaches with repeating rifles. Lockhart decides to take salt from the local salt fields back with him to Laramie, but unbeknownst to him this isn’t free salt and has a run in with Dave Waggoman (Alex Nicol, BLOODY MAMA), the son of Alec Waggoman (Donald Crisp, HOW GREEN WAS MY VALLEY), the richest man in Coronado. With a mission of getting what’s owed him from the Waggomans and to find out who sold the rifles to the Apache, Lockhart sticks around Coronado.

He develops a fancy for Barbara Waggoman (Cathy O’Donnell, THE BEST YEARS OF OUR LIVES), the niece of Alec. But the possible romance sours when Lockhart discovers that she is engaged to Vic Hansbro (Arthur Kennedy, CHEYENNE AUTUMN), the Waggomans’ ranch manager and a virtual son to Alec. Another key character is Kate Canady (Aline MacMahon, AH, WILDERNESS!), the only other major ranch owner in town who takes a liking to Lockhart.

The driving force of the film is the mystery of the rifles, but the underlying story is family. The intrigue of how the town runs is fascinating, as are the secrets of the characters. Even in a revenge tale, Stewart brings a common humanity to his role. Impressively, even in his late 40s, he does all of his stunts in the film — even one where he was dragged behind a horse through a fire.

The layered relationships between Alec, Dave and Vic are wonderful. The screenplay develops all the main characters solidly. Even O’Donnell’s love interest character has depth. As for the cinematography, the Cinescope grandeur fits the setting and tale perfectly. Mann utilizes moving camera and foreground-background compositions with emotional power that hits the right notes at the right times. Outside of the silly song in the opening and closing credits, the use of music is done just right as well. This film is solid entertainment from start to finish.

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Rick DeMott
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