The Outriders (1950)

Absolutely Fantastic

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

A bit overrated, but still an amazing film

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

The Outriders is directed by Roy Rowland and written by Irving Ravetch. It stars Joel McCrea, Arlene Dahl, Barry Sullivan, James Whitmore, Ramon Novarro, Jeff Corey and Claude Jarman. Music is by Andre Previn and cinematography by Charles Schoenbaum.Plot sees McCrea as Will Owen, the alpha male of three Confederate prisoners who escape from Camp Benton Stockade and promptly get recruited by one of William Quantrill's Bushwhacker units. Assigned to infiltrate a Don Chaves (Novarro) run wagon train that's carrying a fortune in gold, the men must deal with Indians, each other, and the hazards that the journey throws up. Out of MGM with some production value of note, The Outsiders rises above simplicity of story to unfurl a darn fine Oater. Narratively it has strengths, where Owen's moral conscience forms a spiky backdrop to plotting. Be it his views on the unsavoury tactics employed by Keeley's (Corey) Bushwhackers, and his place as the undercover leader leading the wagon train to doom, or the positioning of his feelings - and others around him - towards the female of the group (Dahl) and that of her teenage brother-in-law. Owen is definitely in emotional turmoil.From an action stand point the pic doesn't short change, with Indian attacks, internal fisticuffs and a rousing chase followed by the big siege finale, all of which are delivered admirably and scored robustly by Previn. The stand-out, though, is a high energy section of film that sees the group trying to get over a river at high tide flood level and is running a current of death! These scenes are expertly constructed and are of the breath holding standard. Yet the greatest part of the piece finds the group indulging in a square dance evening, where the men are blowing away the cob-webs with hooch, while the delectable Dahl holds court right in the middle. The sexual tension is palpable, the atmosphere electric, and as it happens, it forms a key part of proceedings.Tech credits are high as well, led by the the excellent capturing of the Utah locations by Schoenbaum, this is most pleasing on the eyes. Technicolor is perfect for such an airy Oater, the primary colours positively booming on the screen (check out the water and fire shots), while Dahl was made for such colour lenses. The aforementioned square dance sequences showcase her sexual beauty, with flaming red hair and glorious emerald green shoes acting as glorious crowns to a most appetising filling.Yes the story is soft, and anyone jaded by the formula of many 1950s Westerns should probably avoid this one - with most almost certainly knowing how it's going to pan out anyway. But there's so much to like here for me to suggest it's an undervalued pic and worth seeking out. Especially for McCrea and Dahl fans. 7/10

Confederate prison escapees plan to hi-jack a Union gold shipment and divert it to the South. Priorities, however, are complicated by a key rivalry over a girl and a temptation to just keep the riches for themselves.Better than average Technicolor western. For once, MGM's tendency to over-produce its horse operas gives way to a wise use of money for a western. Happily, glamour and glitz are kept in check, except for actress Dahl. Still, her wardrobe for a wagon train is not too outlandish. Instead, the production makes excellent use of its scenic Kanab, Utah, locations, along with a fine A-list cast and enough extras to make the battle scenes interesting. What grabbed me, however, are two storyline surprises that defy expectations. Plus, for once, battles don't just unfold willy-nilly, instead Owen (McCrea) thinks along tactical lines to gain an advantage. Sure, a hi-jacked gold shipment and a rivalry between sometime buddies (McCrea & Sullivan) are familiar plot devices. Nonetheless, it's a better-than-average script, with several good touches (e.g. Sullivan's loaded gun at the end).That river-crossing scene is clearly the movie's centerpiece and is impressively done. The torrent is big and bad enough to make the fording a genuine nail-biter. I'm guessing those were not easy scenes to film.Anyway, it's a fine McCrea western even though he gets less focal time than usual.

McCrea, Sullivan, and Whitmore escape from a Yankee prison camp during the Civil War. In the process, Sullivan manages to stab the young guard multiple times with what seems like a bit too much relish. It is. Sullivan turns out to be a shallow and greedy womanizer, while McCrea is the man of principle as always. James Whitmore is an elderly soldier with kidney stones.The three men are swept up in a gang run by one of Quantrill's lieutenants. In case you don't know, Quantrill was a Confederate irregular responsible for several killings of innocent civilians. After the war, some of Quantrill's raiders continued their criminal activities for their own benefit, including Jesse James.This particular band of raiders is led by Jeff Corey who coerces the escaped prisoners into guiding a wagon train full of Mexicans, refugees, and gold from Santa Fe into an ambush. It's expected that the civilians will be killed and the gold sent to Richmond for the Confederacy. Among the travelers is Arlene Dahl, looking splendid in her echt-Hollywood fashion, and her nephew, Claud Jarmon, Jr., who wants to prove his manhood -- always a bad sign.The Civil War ends before the train reaches the ambush site but it's revealed that Sullivan knows that the gold would never have reached Richmond anyway. The plan was always for Jeff Corey to keep it for himself and the gang. Sullivan leaves the train and joins the gang.The film would be utterly routine and without interest if it weren't for a couple of elements. The location shooting is colorful, for one thing. The story is an early effort by Irving Ravetch, later responsible for gems like "Hud." The dialog has its outstanding lines. When Sullivan informs McCrea that their wartime friendship is now at an end, McCrea's reply is: "The gullies are awash with my tears. The rain is wholesale." I mean -- okay, it's not Shakespeare and it's not Burt Kennedy's folk poetry, but an exchange like that enlivens an otherwise unexciting conversation. The sarcasm is more lyrical than, say, "It don't surprise me none." Also well written is when the company must cross a dangerously raging river. McCrea by this time is perfectly willing to miss the ambush date and suggests camping until the current subsides -- if it ever does. But Sullivan, with his eye on the gold, explains exactly how he managed to transport heavy cannon across such barriers when he was in the artillery. An arousing and really perilous sequence shows how it's done. The climax is more or less predictable.This was released in 1950 and Joel McCrea had already decided to work on nothing but Westerns. He was over forty and most of the efforts were humdrum. This one is a bit better than most. And his final entry, "Ride the High Country", is considerably better.

The Outriders fulfills its genre with minimal expense but maximal outcome. Only a few brief frames appear spectacular, and many of the pleasures are among the overlooked qualities of the mid-20c Western: laconic dialog, complex plotting, psychological challenges, friendships and honor tested. The budget and production values are always restrained, but the strength of the studio system shows in excellent lighting and color plus a number of realistic outdoor scenes blending finely with studio effects. Other reviewers noted the convincing mattes of Santa Fe, but I felt almost intoxicated by the deep blue sky-backdrop to the camping scene that turns from a comic riot to a dance of love.The other virtue of the studio system is the stable of professional actors who perform their roles not to steal scenes but in service of the plot. Joel McCrea may excel even Randolph Scott in saying the most with the least words while never ever lying--the Western-hero actors of their generation internalized completely the cowboy as a latter-day knight, and the alchemy of script and star is fascinating. Arlene Dahl may be even more economical with her speech than McCrea. In the central dance scene she speaks not a word until a critical moment, then agrees to dance with McCrea only if he bows to put fresh shoes on her feet. The scene is all about sex, but the actors, the script, the direction, and the genre completely control the sexuality's expression.In the supporting ranks James Whitmore, not yet 30, is convincing as an old-coot warrior-sidekick with kidney trouble, while Ramon Navarro--a former sex symbol entering his 50s--plays a Mexican padrone who's still got chops. Barry Sullivan and Jeff Corey remain menacing even when they're acting cooperative. Claude Jarman, Jr. is always worth watching but the director or editor seemed to forget he was in the movie.I couldn't stop watching, but the less-enthusiastic reviewers have a point. The film fulfills its genre so professionally that it never falls below a certain level. But those same qualities make its most beautiful moments somewhat understated, like something even better might once have been imagined but for now they need to finish a movie.