James Stewart and Anthony Mann Team Up for Winchester '73

I think it's fair to say that Winchester '73 ushered in the "adult Western" of the 1950s. Although there were earlier Westerns with flawed heroes, hard-edged films like Winchester '73 reinvented the genre. Their protagonists were rugged men--often with a dark past--focused on revenge (Rancho Notorious), redemption (Bend of the River), or complex "family" relationships (Man of the West). Visually, these films often surrounded their characters with sweeping vistas that seemed to overwhelm the human element. Yet, for all the scenic splendor, this was a grittier West with cowboy hats stained with sweat and rundown desert bars populated by opportunists. One could almost say that these "adult Westerns" reflect the influence of film noir on the traditional oater.

Plotwise, Winchester '73 is a revenge tale about Lin McAdam (James Stewart), a sharpshooter obsessed with tracking down and killing a man that calls himself Dutch Henry Brown. Although it quickly becomes apparent that Dutch Henry is a bad man, Lin's reason for revenge isn't revealed until near the film's conclusion (a plot device used later in Once Upon a Time in the West). It's important to note that Lin is not a lawman and he doesn't want to capture Dutch Henry for a reward. He wants to kill the man.

Stewart at his most intense.

This premise could have backfired if not for the casting of the always likable James Stewart as Lin. It was a decision that benefited both the film and the actor. For Stewart, his intense performance was a stark contrast to most of his pre-World War II roles (though it was a natural extension of his performances in films like Rope and even the darker parts of It's a Wonderful Life). It opened a whole new career arc for the actor, who starred in a number of successful Westerns throughout the 1950s and 1960s--including four more helmed by Winchester '73 director Anthony Mann.

A touch of noir from director Mann.

Prior to 1950, Mann had carved out a career making what are now regarded as classic "B" film noirs (e.g., Raw Deal and T-Men). His first Western, Devil's Doorway starring Robert Taylor, was made prior to Winchester '73. However, it was temporarily shelved after a poor press screening and released--with little fanfare--later in 1950. Still, Universal and Stewart had seen a print of Devil's Doorway and decided that Mann was...their man. Stewart once said that Mann, like John Ford, knew that "a Western has to be a visual thing."

Stewart and Mann regular Jay C. Flippen.

Ironically, James Stewart initially agreed to a two-picture deal at Universal only so that he could star in Harvey. Stewart was keen to play the role of Elwood P. Dowd after substituting briefly for Frank Fay in the original Broadway stage production. In the DVD commentary for Winchester '73, Stewart credits his agent Lew Wasserman for suggesting the Western, noting that the script had been rejected by other studios. To keep the budget down, Stewart accept a percentage of the film's profit--a wise financial move that quickly became the standard for big stars.

Shelley Winters as Lola.

While Mann's directorial flourishes (e.g., the mountain shoot-out) dominate much of Winchester '73, the film's narrative style has always fascinated me. The script, penned by Robert L. Richards and Borden Chase, weaves three interconnecting storylines: Lin's pursuit of Dutch Henry; the former dance hall girl Lola (Shelley Winters) who plans to marry a rancher (Charles Drake); and Dutch Henry teaming up with the gleefully bad Waco Johnny Dean (Dan Duryea) for a robbery. In the film's opening scenes, Lin meets Lola briefly and has a confrontation with Dutch Henry. Then, we follow separate subplots until Lin and Lola reunite during an Indian attack. They separate again, with Lin still looking for Dutch Henry and Lola eventually meeting Waco Johnny Dean, whose gang includes her fiance Steve. As the film ramps up to its conclusion, Lin's search leads him to the same town where Dutch Henry and Waco plan to rob the bank.

In addition to Rock Hudson, Anthony
(Tony) Curtis has a small role.

To add to this rich narrative structure, Lin's Winchester rifle--which he wins during a centennial celebration--changes hands seven times: from Lin to Dutch Henry to an Indian trader (John McIntire) to an Indian leader (Rock Hudson) to Steve to Waco to Dutch Henry to Lin. Whew!

Although it's an exceptional, highly influential film, Winchester '73 is not my favorite James Stewart-Anthony Mann Western. That would be The Far Country or Bend of the River. Those films offer more thematic depth, exploring the importance of family and the power of redemption. They are also in color, which provides Mann with another tool for visual expression. But the fact remains that those Westerns might never have been made if not for the success of Winchester '73.

The same could be said of a lot of other Westerns that followed in its wake.

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This post is part of The James Stewart Blogathon hosted by the Classic Film & TV Cafe. We strongly encourage you to check out all the great posts in this blogathon by clicking here for the complete schedule.

The 5 Best James Stewart Performances

The problem with listing the 5 best James Stewart films is that there are many more than five. But this month’s theme is the “5 Best” and I’ll stick to it. I don’t like it, though. One of my all-time favorite movies, Anatomy of a Murder (which features a superb Stewart performance), wound up as an honorable mention. And I am ready to incur the wrath of fans of The Philadelphia Story.

1. Vertigo – Stewart did his best work in the 1950s, often playing down his natural charm to portray obsessive, driven characters. His finest acting came in Hitchcock’s masterpiece, where we watch a typical Stewart “nice guy” evolve into a man obsessed with an illusion. Contrast Scotty’s (Stewart) playful banter early on with Midge with his climactic confrontation with Judy—his eyes ablaze with confusion, hate, and something akin to love. It’s a brilliant and chilling transition.

2. Rear Window – As injured photographer “Jeff” Jeffries, Stewart played a character that seems like a natural progression to Vertigo’s Scotty. Jeff is charming and likable, but his “hobby” of spying on his neighbors masks a subtle obsession with voyeurism. Stewart explores the shadows of Jeff’s personality, but never goes too far. We may question Jeff’s motives, but we always root for him.

3. It’s a Wonderful Life – Its frequent showings may have diluted its impact and Stewart’s brilliant acting job as George Bailey. However, Stewart’s post-World War II performance revealed a new maturity and depth that enable him to capture George’s desperation and passion. Those elements were present in earlier Stewart films, in particular Mr. Smith Goes to Washington, but not to the extent that the actor channels them here.

4. Winchester ’73 – Any of the five Anthony Mann-James Stewart Westerns could fall into this slot, but I opted for Winchester ’73 simply because it was the pair’s first collaboration. In all of his Mann films, Stewart plays a loner with a dark past who is redeemed by love, friendship, and/or community acceptance. These grim, hard men are a stark contrast to the easygoing Tom Destry from Destry Rides Again and proof again of Stewart’s acting versatility.

5. Harvey – Playing a much older character, Stewart shines as the eccentric Elwood P. Dowd, whose best friend is a 6’ 3.5” invisible rabbit (well, technically a pooka). As evidence of Stewart’s mastery of the role, I ask if you imagine anyone else saying this line: “Years ago my mother used to say to me, she'd say, ‘In this world, Elwood, you must be’—she always called me Elwood—‘in this world, Elwood, you must be oh so smart or oh so pleasant.’ Well, for years I was smart. I recommend pleasant. You may quote me.”

Honorable mentions: Anatomy of a Murder, Mr. Smith Goes to Washington, Destry Rides Again, and The Shop Around the Corner.