The Criterion Collection

[DaBargainHunta]

The Violent Men (1955) - Expiring from The Criterion Channel



What at first seems like a High Noon knockoff and a middle of the road Western turns into a hell of a lot of fun and ends up being much different than I expected.

I've seen Glenn Ford in a couple of other movies, and he was fine there and is fine here - a rock solid, sturdy, reliable presence. The real reason to tune in, of course, is the combination of Barbara Stanwyck and Edward G. Robinson as husband and wife. It's always delightful when you find out two of your favorites shared the screen once upon a time.

Stanwyck and Robinson play greedy land developments who want to take over the town, and will do so by any means necessary. (This is the second movie I've seen - the other being Walk on the Wild Side - where Stanwyck's husband was crippled. Was that secretly her thing?) The only reason Glenn Ford came into town in the first place was to recover from a lengthy illness after being shot in the war. Now that he has recovered, he's eager to sell out, cash in, and get the hell out of Dodge - or Anchor, in this case. Of course, it's never that easy in the Wild West. Needless to say, Ford runs into issues with some *ahem* violent men.

DaBargainHunta's Decree: Westerns are hardly my favorite genre, but this is a good time with a great cast. (Captions/Subtitles: Yes!)

[Scottie]

Smooth Talk is now featured on Janus's homepage.

https://www.janusfilms.com/films/2004

[Reddington]

A bit late to the discussion about The Leopard, but I thought that any initial antagonism between Visconti and Lancaster originated from the former's desire to have Olivier play the role, only to have the latter imposed by the studio - and that once Visconti witnessed Lancaster's commitment and talent he was won over, and they became lifelong friends?

[ravenus]

Originally Posted by AdmiralNoodles

Probably use the same scan but utilize color correction.

Utilize color correction for a restoration that was approved by one of the DoP's who worked on the film? I don't see Criterion doing that.

[NeoNical]

Originally Posted by Reddington

A bit late to the discussion about The Leopard, but I thought that any initial antagonism between Visconti and Lancaster originated from the former's desire to have Olivier play the role, only to have the latter imposed by the studio - and that once Visconti witnessed Lancaster's commitment and talent he was won over, and they became lifelong friends?

Yep, that's the story from what I heard. Was a bit confused when people said that they became enemies of something. Maybe it was because of the English dub but I don't think it broke their friendship, especially since Lancaster appeared in a documentary on Visconti in the Death in Venice Blu-ray.

[Reddington]

Originally Posted by NeoNical

Yep, that's the story from what I heard. Was a bit confused when people said that they became enemies of something. Maybe it was because of the English dub but I don't think it broke their friendship, especially since Lancaster appeared in a documentary on Visconti in the Death in Venice Blu-ray.

Yes, and I clean forgot that they worked together 10 years later in Visconti's Conversation Piece.

[Bates_Motel]

Originally Posted by ravenus

Utilize color correction for a restoration that was approved by one of the DoP's who worked on the film? I don't see Criterion doing that.

Because it’s revisionist and not how the film looked for 40 years, until it was changed and “approved” by the DP. Whites are orange and blues are teal, and there’s severe black crush throughout. It definitely needs a color fix.

[Rayjg]

Originally Posted by Professor Echo

This is interesting, but if true, it must not have been too egregious seeing that Lancaster and Visconti worked again.

I've heard that Lancaster could be very difficult to work with and often second guessed many aspects of the productions he was involved with, but people forget that he was a genuine producer with his own company and was certainly not a dilettante. He was a very intelligent, committed artist and at least some of his creative "impositions" over the years were well regarded and not dismissed outright. In addition, he put his money where his mouth is and personally helped finance films that were struggling to be completed, such as THE SWIMMER and GO TELL THE SPARTANS. Director Ted Post told me he loved Burt and stated that SPARTANS would never have been finished without his money. Now I'm not saying Lancaster knew better than Visconti, I'm just saying that if that Sight And Sound piece is to be believed, why would Visconti ever agree to work with Lancaster again?

Oh and full disclosure: I am not a fan at all of Sight And Sound.

He was great in The Swimmer but he undermined a very talented director. It probably turned out as well as it did because they mostly stuck to the original script during re-shoots. It’s sad to hear how Frank Perry would give Joan Rivers direction and then Lancaster would tell her to ignore them and do it his way. At least the Perrys were brought in at the end and allowed to offer their opinions. That probably saved the already heavily re-shot ending.

[ravenus]

Originally Posted by Bates_Motel

Because it’s revisionist and not how the film looked for 40 years, until it was changed and “approved” by the DP. Whites are orange and blues are teal, and there’s severe black crush throughout. It definitely needs a color fix.

I think their past record shows that they accept film-maker approved revisions, be it color grading or edits, and unlike some other labels, typically do not provide any alternative versions.

[UnionJackMix]

If they want to add it as an extra ok but there should be a really good case to replace the orginal and not offer it alongside.

[AdmiralNoodles]

Originally Posted by ravenus

I think their past record shows that they accept film-maker approved revisions, be it color grading or edits, and unlike some other labels, typically do not provide any alternative versions.

Wish Criterion wouldn't accept Vittorio Storaro's weird revisionist 2.00:1 Univisium aspect ratio for The Last Emperor and have a release with all versions in the 2.35:1 or 2.40:1 cinematic OAR. Other companies did the latter. Glad the current releases, including that crazy 6-Disc, regarding Apocalypse Now completely abandons this revisionist malarkey and goes for OAR.

I've no problem with The Silence of the Lambs BD but wish there were a 4K UHD disc (Maybe it's why Criterion aren't going for it since the format is mandatorily region free? One of my guesses.) and no idea if anything was left out from the LD/DVD release. Keeping the DVD anyway.

[Professor Echo]

Originally Posted by DaBargainHunta

The Violent Men (1955)

The real reason to tune in, of course, is the combination of Barbara Stanwyck and Edward G. Robinson as husband and wife. It's always delightful when you find out two of your favorites shared the screen once upon a time.

Yep. Lest we forget DOUBLE INDEMNITY.

[ravenus]

Originally Posted by Professor Echo

Yep. Lest we forget DOUBLE INDEMNITY.

Did they have scenes together in DI? I thought most of the film was a flashback read by Robinson's character, whose interaction was primarily with MacMurray, but I may be remembering wrong

[Professor Echo]

Originally Posted by ravenus

Did they have scenes together in DI? I thought most of the film was a flashback read by Robinson's character, whose interaction was primarily with MacMurray, but I may be remembering wrong

Wow, my memory sure ain't what it used to be. I thought there was a scene with Phyllis in Keye's office regarding her policy after the "incident" (for benefit of those who haven't seen it yet). Am I wrong?

[Gunsnroses092789]

Originally Posted by Professor Echo

Wow, my memory sure ain't what it used to be. I thought there was a scene with Phyllis in Keye's office regarding her policy after the "incident" (for benefit of those who haven't seen it yet). Am I wrong?

There is indeed a scene with Phyllis, Neff, Keyes and Norton (the owner of the insurance company) in the latter's office. Though, I don't think Keyes and Phyllis ever have any exchange. It's mostly Phyllis and Norton.

There's also a scene where Phyllis hides behind Neff's front door as Keyes leaves for the building elevator, but again, no interaction between them.

[AdmiralNoodles]

Originally Posted by Professor Echo

Wow, my memory sure ain't what it used to be. I thought there was a scene with Phyllis in Keye's office regarding her policy after the "incident" (for benefit of those who haven't seen it yet). Am I wrong?

Been awhile since I've watched Double Indemnity but time to give the BD I own a spin again sometime. Makes for a great double feature with Touch of Evil. Largely obvious since both were released by U.H.E. at the same time.
Wonder if any titles released by Criterion would add to that double feature. Would most likely rent those from proper DVD Netflix in the future.

[belcherman]

Originally Posted by DaBargainHunta

The Violent Men (1955) - Expiring from The Criterion Channel

[Show spoiler]

What at first seems like a High Noon knockoff and a middle of the road Western turns into a hell of a lot of fun and ends up being much different than I expected.

I've seen Glenn Ford in a couple of other movies, and he was fine there and is fine here - a rock solid, sturdy, reliable presence. The real reason to tune in, of course, is the combination of Barbara Stanwyck and Edward G. Robinson as husband and wife. It's always delightful when you find out two of your favorites shared the screen once upon a time.

Stanwyck and Robinson play greedy land developments who want to take over the town, and will do so by any means necessary. (This is the second movie I've seen - the other being Walk on the Wild Side - where Stanwyck's husband was crippled. Was that secretly her thing?) The only reason Glenn Ford came into town in the first place was to recover from a lengthy illness after being shot in the war. Now that he has recovered, he's eager to sell out, cash in, and get the hell out of Dodge - or Anchor, in this case. Of course, it's never that easy in the Wild West. Needless to say, Ford runs into issues with some *ahem* violent men.

DaBargainHunta's Decree: Westerns are hardly my favorite genre, but this is a good time with a great cast. (Captions/Subtitles: Yes!)

Thanks for the tip. I caught The Violent Men last night just to check it out. I don't know if I saw it years ago and don't clearly remember it or if it just reminded me of a lot of other westerns that I've seen. It's not a classic, but as you say, it is very enjoyable. It's fun watching the old pros Stanwyck and Robinson alongside the relatively younger Glenn Ford. Stanwyck and Robinson don't disappoint, but I was pleasantly surprised by Glenn Ford. I usually find him a rather stolid actor, but here he shows some energy which helps move the action forward. Once it gets going, the movie doesn't slow down and I was engaged right up until the *ack* ending (more on that in a bit). Another actor who was great in this was a young Richard Jaeckel as the hired gunslinger.

Other reasons for enjoying the film were the great location shots of the southwest shown in widescreen Technicolor and the stirring score by Max Steiner. As you say, this isn't a classic, but it is very good. I'd like to see it on blu, but I don't know who might release it now that Twilight Time is out of business.

* About that ending. Hated it! Talk about unnecessary and superfluous. It just left a saccharin after-taste in my mouth. It changed the whole tone of the movie in the last few minutes and I wonder if that was in the original script or if it was a matter of studio interference.

[Professor Echo]

Originally Posted by AdmiralNoodles

Been awhile since I've watched Double Indemnity but time to give the BD I own a spin again sometime. Makes for a great double feature with Touch of Evil. Largely obvious since both were released by U.H.E. at the same time.
Wonder if any titles released by Criterion would add to that double feature. Would most likely rent those from proper DVD Netflix in the future.

Not released by Criterion, but watching THE STRANGER could be the missing link between that double feature. It was directed by Welles and stars Edward G. Robinson.

[Jaymole]

Originally Posted by Gunsnroses092789

There's also a scene where Phyllis hides behind Neff's front door as Keyes leaves for the building elevator, but again, no interaction between them.

I love the film dearly but that scene always bothers me as nobody's front door swings outward. I know it is a way of making her not seen but it is not based on reality. Just think how many accidents would occur if we had front doors slamming into visitor's faces.

[Gunsnroses092789]

Originally Posted by Jaymole

I love the film dearly but that scene always bothers me as nobody's front door swings outward. I know it is a way of making her not seen but it is not based on reality. Just think how many accidents would occur if we had front doors slamming into visitor's faces.

Ha! Never thought of that, but you are right. It's kind of like the swiveling rocking chair at the end of Psycho - another thing that doesn't exist in reality, but is done for the sake of the drama, and is effective despite the implausibility.