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This is one of the most current and luscious Westerns ever made. What sets it apart is the relative lack of action, the procedure that director William Wyler shifts most of the interest onto the relationship and interpersonal interplay between Cole Hardin (Gary Cooper, in one of his finest Western roles) and Think Roy Bean (Walter Brennan) . The draw the two recede from instant enemies, to unexpected friends, to uneasy opponents, to reluctant enemies, and finally assist to sympathetic friends is masterfully portrayed. As lovely as Cooper is, distinguished of the credit lies with Brennan, who became the first person to regain three acting Oscars by picking up his third Best Supporting Actor Oscar. Unlike his other Oscar wins, this role was essentially a lead role. Although many actors have portrayed Think Roy Bean over the years, Brennan’s is the definitive one, despite being the least historically suitable. If his version isn’t the most faithful, it is the most compelling. He manages to be utterly absurd, dangerously unpredictable, and utterly likable at the same time.
The record essentially falls into two halves. The first involves Gary Cooper’s accidental identification in Believe Bean’s saloon as a horse thief, his trial and conviction, and clever manipulation of the Believe to net a reprieve. The second half concerns Cooper’s taking sides in a range war, siding with a lone female farmer against cattlemen. Both halves are brought together nicely in Cooper and Brennan’s final struggle that ends the film.
Along with Walter Brennan and Gary Cooper, the actual star of this film is Gregg Toland, whose cinematography rivets the viewer’s attention on the shroud from beginning to destroy. Toland, who died tragically young in 1948 at the age of 44, is universally regarded as one of the very greatest cinematographers of all time, and THE WESTERNER was one of his finest efforts in a very, very stout scurry of films over a relatively short period of time. In the period running from 1939-41, Toland was responsible for filming such fantastic classics as WUTHERING HEIGHTS, THE GRAPES OF WRATH, THE WESTERNER, and CITIZEN KANE. Has any cinematographer ever had a two-year period matching this one? I saw THE WESTERNER years before I knew who Gregg Toland was, but I long retained the memory of several of the astonishing shots Toland framed. He was a current of director William Wyler, who would spend him often during Toland’s tragically short career.
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Toland’s photography manages to give this film an story feel and scope, while the tensions in the relationship between Cooper and Brennan effect it a highly intimate film. This is easily one of the most new Westerns in the history of Holly, and one of the best.
The Westerner is simply one of the best westerns ever made. It starts of course with Gregg Toland’s unbelievable cinematography. “The Westerner” has all of the classic elements of the genre, the lonesome drifter (Cooper), the half-evil mediate (Brennan as Contemplate Roy Bean), the “searching-for-a-real-man” woman, the gang of thug rustlers (played by a gang of various thugs), the wimpy farmers (played by a bunch of wimpy farmers), the raunchy bar-room singer (played by a lock of golden hair), and the climatic shoot-out (Cooper versus Brennan) . The scenes that lift the movie are those in which Cooper pleasurable agress to gently crack Assume Roy Beans stiff neck with a swiftly twist. You can hear the pops and also feel the relief as you leer.
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