58 reviews
The Western is so unique, so internalised, and so full of instantly-recognisable motifs, that many Westerns from the classic era take on the look and feel not of the western United States, but some surreal and separate country, as far removed from America as anywhere else. This was especially the case when the increasingly European production crews in Hollywood produced their skewed yet affectionate takes on this "most American of genres".
Rancho Notorious at first comes across as a "noir" Western, at least if one looks at the Sylvia Richards story and Daniel Taradash screenplay, but it's much more than that. Director Fritz Lang probably had much less to do with the screenplay than is sometimes claimed (he was never a particularly great writer, even in his native German), but he has a whole lot to do with the tone of the picture. Far from turning this into an anti-western, he makes use of sweeping landscapes, rough-looking saloons and typical cowboy business, the sort of thing some revisionist filmmakers eschewed, but they are all given that typical Lang look of zigzagging paths and stark diagonal lines. He also injects that stylised rhythmic feel that harks back to his silent pictures or the bizarre semi-musical gangster movie You and Me (1938). A montage of gritty faces underscores a few of the songs, while a mysterious puff of smoke drifts onto the screen as Marlene Dietrich decides whether or not to gamble the last of her money. The impression is of a Western full of exaggerated cliché, and yet totally remote from the cosy cowboy flick.
The second crucial figure in Rancho Notorious is the other German émigré, Fraulein Dietrich. Although Dietrich is not really known as a Western star, her only other appearance in the genre being Destry Rides Again in 1939, her character in Rancho Notorious seems to be a play upon her old screen persona. It seems to chime particularly true with her real career trajectory that everyone remembers Altar Keane's name, a few have some sordid stories about her, but no-one seems to know quite what has happened to her now. Dietrich plays the part sublimely, conjuring up some of her old magic, tinged with the weariness of middle-age. Her best moments are in the series of flashbacks in which her character is introduced – her gleeful cheating in the "horse" race scene, or the disdainfulness with which she brushes off a would-be admirer in the gambling joint. She has the air of someone who has been round the block a bit, and yet makes it eminently clear why men still love her and fight over her. The very worthy Arthur Kennedy is ostensibly the lead player, although it is appropriate he is billed below Dietrich not just because she was a bigger star, but because she really is the heart of this movie.
Rancho Notorious is rather a cheap and cheerful offering, with the all the production values of the trashy B-Westerns that this era was full of. And yet it has something that even some of the most prestigious and professional pictures do not. Everyone involved seems to have been working on the same wavelength. There is the stripped-down production design of Wiard Ihnen and washed out Hal Mohr cinematography, which help to give it this bleak, distant imagery. Then there's the casting in smaller roles, stereotypically Western yet almost comically over-the-top, like the coroner who pronounces a man "reeeaal dead", or the moustachioed old-timer who imagines the ranch as some sort of romantic hideaway. And finally those haunting and twisted takes on the cowboy ballads penned by Ken Darby. Together they create a compelling view of the west, not as it really was, but as it has been imagined – in this instance, a dream of the Old West a few shades away from a nightmare.
Rancho Notorious at first comes across as a "noir" Western, at least if one looks at the Sylvia Richards story and Daniel Taradash screenplay, but it's much more than that. Director Fritz Lang probably had much less to do with the screenplay than is sometimes claimed (he was never a particularly great writer, even in his native German), but he has a whole lot to do with the tone of the picture. Far from turning this into an anti-western, he makes use of sweeping landscapes, rough-looking saloons and typical cowboy business, the sort of thing some revisionist filmmakers eschewed, but they are all given that typical Lang look of zigzagging paths and stark diagonal lines. He also injects that stylised rhythmic feel that harks back to his silent pictures or the bizarre semi-musical gangster movie You and Me (1938). A montage of gritty faces underscores a few of the songs, while a mysterious puff of smoke drifts onto the screen as Marlene Dietrich decides whether or not to gamble the last of her money. The impression is of a Western full of exaggerated cliché, and yet totally remote from the cosy cowboy flick.
The second crucial figure in Rancho Notorious is the other German émigré, Fraulein Dietrich. Although Dietrich is not really known as a Western star, her only other appearance in the genre being Destry Rides Again in 1939, her character in Rancho Notorious seems to be a play upon her old screen persona. It seems to chime particularly true with her real career trajectory that everyone remembers Altar Keane's name, a few have some sordid stories about her, but no-one seems to know quite what has happened to her now. Dietrich plays the part sublimely, conjuring up some of her old magic, tinged with the weariness of middle-age. Her best moments are in the series of flashbacks in which her character is introduced – her gleeful cheating in the "horse" race scene, or the disdainfulness with which she brushes off a would-be admirer in the gambling joint. She has the air of someone who has been round the block a bit, and yet makes it eminently clear why men still love her and fight over her. The very worthy Arthur Kennedy is ostensibly the lead player, although it is appropriate he is billed below Dietrich not just because she was a bigger star, but because she really is the heart of this movie.
Rancho Notorious is rather a cheap and cheerful offering, with the all the production values of the trashy B-Westerns that this era was full of. And yet it has something that even some of the most prestigious and professional pictures do not. Everyone involved seems to have been working on the same wavelength. There is the stripped-down production design of Wiard Ihnen and washed out Hal Mohr cinematography, which help to give it this bleak, distant imagery. Then there's the casting in smaller roles, stereotypically Western yet almost comically over-the-top, like the coroner who pronounces a man "reeeaal dead", or the moustachioed old-timer who imagines the ranch as some sort of romantic hideaway. And finally those haunting and twisted takes on the cowboy ballads penned by Ken Darby. Together they create a compelling view of the west, not as it really was, but as it has been imagined – in this instance, a dream of the Old West a few shades away from a nightmare.
When I was in school not too many years after this film came out, as I recall vividly, we were taught the evils of totalitarianism (notably of the Communist variety). One of the scariest evils, so we were told, was that people could be made not to exist - not just in the sense of being murdered, but in the sense of being erased even in memory. They did not exist. And they had never existed, even if they had. History books were doctored. Names were whited out of the index. The memory of history changed. That was the great difference between us and them. It could never happen here. We all, patriotic little kids, nodded - not here. Watch this movie and you will see it happen, here. All the characters are played by actors. All except one. One is played by a phantom. He doesn't exist. Of course, he does. He's Lloyd Gough. His character, Kinch, is the central pivot of the entire story, from the first scene. But he has been removed from the cast: no mention of his name.
Lloyd Gough and his wife Karen Morley refused to grovel before HUAC and so were blacklisted. He was also erased, retroactively. They couldn't erase his image, because he was in too many and too important scenes. But they could erase his memory. That they did. They didn't blot out his name from the many other films he had played. But they could have. Why not? It's only a short step from one retroactive erasure to many. Not too hard to reshoot the credits of old films. is it? Didn't happen. But it started. Think about that and be scared. Oh, yes, I forgot. We're past that now, just an aberration of the 1950s. Right?
Lloyd Gough and his wife Karen Morley refused to grovel before HUAC and so were blacklisted. He was also erased, retroactively. They couldn't erase his image, because he was in too many and too important scenes. But they could erase his memory. That they did. They didn't blot out his name from the many other films he had played. But they could have. Why not? It's only a short step from one retroactive erasure to many. Not too hard to reshoot the credits of old films. is it? Didn't happen. But it started. Think about that and be scared. Oh, yes, I forgot. We're past that now, just an aberration of the 1950s. Right?
- friedlandea
- Jan 11, 2019
- Permalink
First of all, the word "noir" is thrown around much too carelessly, so let's be clear: This is a Western. Pure and simple. In fact it's a pretty bad Western, really, but somehow it manages to be a lot of fun. You've got Marlene Dietrich a little past her prime with plucked and painted eyebrows that leave her facial expression in a perpetual state of surprise. There's a gunslinger named "Frenchy Fairmont," and a warbly sung narrative song throughout reminding us that this is a tale of murder and revenge. I especially liked the line (I don't remember it exactly) spoken by a doctor who rattles off a list of a cowboy's injuries and sums up by saying, "So, really, he's pretty dead."
"Rancho Notorious" isn't one of the genre's better entries, but see it some time just for its entertainment value.
"Rancho Notorious" isn't one of the genre's better entries, but see it some time just for its entertainment value.
"Rancho Notorious" is a beautifully atmospheric and suspenseful film. Best known for his expressionist black & white suspense thrillers, director Fritz Lang brings the same qualities to this Technicolor western.
Although she must have been in her fifties when the film was made, Dietrich looks absolutely gorgeous. She also seems to be having lots of fun with the part, in a sense reprising her character from "Destry Rides Again." It's never explained how this woman with the strange German accent ended up in the Wild West, and we don't really care. By the way, Dietrich's performance in these two films was the basis for Madeline Kahn's great parody in "Blazing Saddles."
The one thing that really stands out in my mind about this film is how effectively the suspense builds. The tension leading up to Vern's discovery of the killer's identity is almost unbearable, and Lang makes us wait until the film's last five minutes for the inevitable score-settling gunfight.
In a period of film history when westerns were a dime a dozen, this one really stands out as a true classic.
Although she must have been in her fifties when the film was made, Dietrich looks absolutely gorgeous. She also seems to be having lots of fun with the part, in a sense reprising her character from "Destry Rides Again." It's never explained how this woman with the strange German accent ended up in the Wild West, and we don't really care. By the way, Dietrich's performance in these two films was the basis for Madeline Kahn's great parody in "Blazing Saddles."
The one thing that really stands out in my mind about this film is how effectively the suspense builds. The tension leading up to Vern's discovery of the killer's identity is almost unbearable, and Lang makes us wait until the film's last five minutes for the inevitable score-settling gunfight.
In a period of film history when westerns were a dime a dozen, this one really stands out as a true classic.
In Wyoming , when his sweetheart is murdered , then an embittered cowboy (Arthur Kennedy who was playing a young man , he was actually three years older than Mel Ferrer) hunting enemies and on the trail of his fiancee's murderer . First with a posse, then by himself , to an outlaw hideout ranch called Chuck-a-Luck (it means a gambling game commonly played in saloons in the Southwest) . As he arrives in Rancho Notorious and the main question is the following : to guess the killer in the mansion . Then , he falls for a dance girl , Altar Keane (Marlene Dietrich who sings some songs in his usual style) , ranch owner that is a refuge for thieves and she posing as an upright rancher and horse seller . In the ranch there is a motley group of bandits (Frank Ferguson , William Frawley , Francis McDonald , Jack Elam and George Reeves with a scar on his cheek) led by Frenchy Fairmont (Mel Ferrer) who scheme to rob a bank in Clay Springs city .
This traditional Western contains drama , thrills , rousing action , frontier adventure , shootouts , and exuberant outdoors , though including matte painting images . This vintage epic Western turns out to be a throughly entertaining picture that will appeal to Western fans . It is an interesting flick in which an initial murder triggering off a tale of hatred , vengeance and a triangular love . A ¨period¨ sample'of 50s westerns , but different to common themes . Fine acting and a lot of duels , shots and killings . Medium budget Western for all those who love moody , thoughtful westerns . This is a very good Western by Fritz Lang , he made three , there's only one better than this , and that's ¨The return of Frank James¨ . Good performances for all-star-cast . Nice acting by Marlene Dietrich at her slinkiest , in fact Rancho Notorious is a must for Marlene fans . As Arthur Kennedy as a ranch hand called Vern Haskell who pursues the killers his girlfriend, following the trail to an outlaw's roost . Kennedy holds his twisted expression to great effect as the relentless cowboy hunting a hidden killer . Acceptable Mel Ferrer as Frenchy Fairmont , an outlaw really enamored to Altar and who defends his love .
The film displays a brilliant cinematography in rich Technicolor by expert cameraman Hal Mohr who had previously photographed Marlene Dietrich in Arizona (1939) . In addition , attractive and evocative musical score by Ken Darby , Emil Newman and uncredited Hugo Friedhofer and Arthur Lange ; including some catching western songs . The motion picture produced by Howard Welsch and RKO was tight as well as seethingly directed by Fritz Lang with great enthusiasm and in his particular style . This was Lang's third Western , following his favorite ¨The return of Frank James¨ with Henry Fonda and ¨Western Union¨ , a Darryl F Zanuck's 20th Century Fox production about construction of the glamorous ¨Western Union¨ route from Omaha , Nebraska , to Salt Lake City , Utah with Robert Young and Dean Jagger . The German Fritz showed himself a master of the most American of genres . As Lang directed masterfully all kind of genres as Noir cinema as ¨Big heat¨ , ¨Scarlet Street¨ and ¨Beyond a reasonable doubt¨ , Epic as ¨Nibelungs¨, suspense as ¨Secret beyond the door¨ , ¨Clash by night¨ and Lang's trilogy about Nazi time as ¨Cloak and dagger¨, ¨Man hunt¨ and ¨Hangmen also die¨, and of course , Sci-Fi with the classic ¨Metropolis¨. Rating Rancho Notorious : Better than average . Well worth watching .
This traditional Western contains drama , thrills , rousing action , frontier adventure , shootouts , and exuberant outdoors , though including matte painting images . This vintage epic Western turns out to be a throughly entertaining picture that will appeal to Western fans . It is an interesting flick in which an initial murder triggering off a tale of hatred , vengeance and a triangular love . A ¨period¨ sample'of 50s westerns , but different to common themes . Fine acting and a lot of duels , shots and killings . Medium budget Western for all those who love moody , thoughtful westerns . This is a very good Western by Fritz Lang , he made three , there's only one better than this , and that's ¨The return of Frank James¨ . Good performances for all-star-cast . Nice acting by Marlene Dietrich at her slinkiest , in fact Rancho Notorious is a must for Marlene fans . As Arthur Kennedy as a ranch hand called Vern Haskell who pursues the killers his girlfriend, following the trail to an outlaw's roost . Kennedy holds his twisted expression to great effect as the relentless cowboy hunting a hidden killer . Acceptable Mel Ferrer as Frenchy Fairmont , an outlaw really enamored to Altar and who defends his love .
The film displays a brilliant cinematography in rich Technicolor by expert cameraman Hal Mohr who had previously photographed Marlene Dietrich in Arizona (1939) . In addition , attractive and evocative musical score by Ken Darby , Emil Newman and uncredited Hugo Friedhofer and Arthur Lange ; including some catching western songs . The motion picture produced by Howard Welsch and RKO was tight as well as seethingly directed by Fritz Lang with great enthusiasm and in his particular style . This was Lang's third Western , following his favorite ¨The return of Frank James¨ with Henry Fonda and ¨Western Union¨ , a Darryl F Zanuck's 20th Century Fox production about construction of the glamorous ¨Western Union¨ route from Omaha , Nebraska , to Salt Lake City , Utah with Robert Young and Dean Jagger . The German Fritz showed himself a master of the most American of genres . As Lang directed masterfully all kind of genres as Noir cinema as ¨Big heat¨ , ¨Scarlet Street¨ and ¨Beyond a reasonable doubt¨ , Epic as ¨Nibelungs¨, suspense as ¨Secret beyond the door¨ , ¨Clash by night¨ and Lang's trilogy about Nazi time as ¨Cloak and dagger¨, ¨Man hunt¨ and ¨Hangmen also die¨, and of course , Sci-Fi with the classic ¨Metropolis¨. Rating Rancho Notorious : Better than average . Well worth watching .
With it being directed by the great Fritz Lang (a director with a great and distinctively Expressionistic visual and directing style, with 'M' and 'Metropolis' being two of the finest examples) and starring Marlene Dietrich (especially fond of her work with Josef von Sternberg and in 'Witness for the Prosecution'), 'Rancho Notorious' had a lot of interest value. Likewise with the story idea.
'Rancho Notorious' may not be my idea of a great film, especially for one with such a great director and an actress as talented as Dietrich. This is not to say that 'Rancho Notorious' is bad. It is far from that. While it is problematic and far from being one of Lang's best, in a way it's somewhat of a lesser effort, to me it was quite good and an interesting take on the genre. Strange and over-the-top but on the most part it's not in a bad way.
Its weak point is the main theme/song. It is used far too much, like over-explanatory narration in song form, and the actual theme is grating and heavy-handed. Didn't even think it fitted much stylistically either (sounding too jaunty for a film that started off in a gritty fashion) and the cheesiness of some of the words added to the out of kilter feel. Seeing as it features heavily, it was a big problem and made me not think highly of the music much.
The film is cheap-looking in the sets, which never look authentic and more hastily-made studio-bound settings that look like they were constructed on the remainder of a budget where most of it was blown hiring Lang and Dietrich. Arthur Kennedy's performance is slightly uneven, mostly he's fine but in the more romantic parts he looks uncomfortable and more chemistry (though it's there) with Dietrich would have been welcome.
Dietrich however, even when past prime, looks luminous and brings the right amount of charisma and toughness. Something that Kennedy also displays in his best moments. A relatively cast against type Mel Ferrer is lively support and George Reeves and Jack Elam are just as solid. Lang himself fares very well here, his direction is stylish and moody with some nice creative touches.
Also found 'Rancho Notorious' to boast some ravishingly striking cinematography. The rest of the songs are nicely sung and are placed and used better, even if one questions the necessity. The film gets off to a wonderfully gritty start that one does wish was carried further, though the over-the-top-ness was actually entertaining still and didn't jar as much as it sounds. The tension simmers beautifully and the climax scintillates, the lack of sentimentality was appreciated.
Summing up, intriguing, for Lang completests and to see how a different take on a Western can fare, and well done though Lang did much better. 7/10 Bethany Cox
'Rancho Notorious' may not be my idea of a great film, especially for one with such a great director and an actress as talented as Dietrich. This is not to say that 'Rancho Notorious' is bad. It is far from that. While it is problematic and far from being one of Lang's best, in a way it's somewhat of a lesser effort, to me it was quite good and an interesting take on the genre. Strange and over-the-top but on the most part it's not in a bad way.
Its weak point is the main theme/song. It is used far too much, like over-explanatory narration in song form, and the actual theme is grating and heavy-handed. Didn't even think it fitted much stylistically either (sounding too jaunty for a film that started off in a gritty fashion) and the cheesiness of some of the words added to the out of kilter feel. Seeing as it features heavily, it was a big problem and made me not think highly of the music much.
The film is cheap-looking in the sets, which never look authentic and more hastily-made studio-bound settings that look like they were constructed on the remainder of a budget where most of it was blown hiring Lang and Dietrich. Arthur Kennedy's performance is slightly uneven, mostly he's fine but in the more romantic parts he looks uncomfortable and more chemistry (though it's there) with Dietrich would have been welcome.
Dietrich however, even when past prime, looks luminous and brings the right amount of charisma and toughness. Something that Kennedy also displays in his best moments. A relatively cast against type Mel Ferrer is lively support and George Reeves and Jack Elam are just as solid. Lang himself fares very well here, his direction is stylish and moody with some nice creative touches.
Also found 'Rancho Notorious' to boast some ravishingly striking cinematography. The rest of the songs are nicely sung and are placed and used better, even if one questions the necessity. The film gets off to a wonderfully gritty start that one does wish was carried further, though the over-the-top-ness was actually entertaining still and didn't jar as much as it sounds. The tension simmers beautifully and the climax scintillates, the lack of sentimentality was appreciated.
Summing up, intriguing, for Lang completests and to see how a different take on a Western can fare, and well done though Lang did much better. 7/10 Bethany Cox
- TheLittleSongbird
- Oct 14, 2018
- Permalink
Fritz Lang's final western is watchable because of it's strangeness.We start with the nominal hero(Arthur Kennedy)in happy mood with his future wife,who is promptly brutally murdered by two villains,one of whom shoots the other afterwards over an argument over money.
Kennedy's thirst for revenge eventually takes him to a ranch run by former showgirl Marlene Dietrich,which is a haven for various killers,bad guys,gunfighters,etc.The man who carried out the brutal killing(Lloyd Gough)is one of the said above,and it takes Kennedy until the film's last few minutes to find out.
There are many positive aspects of the film,but as many negative.Lang's moody,Teutonic direction is a major plus here,as are fine performances by Arthur Kennedy and Marlene Dietrich,but others,such as a badly miscast Mel Ferrer,a very dated linking ballad which tends to provoke unintentional derision nowadays,and some highly unconvincing outdoor studio sets made even more so by colour(the film probably would have been more effective in Black and White).
One interesting piece of trivia:Lloyd Gough,who plays the brutal killer Kinch,did not receive a credit despite his pivotal role in RANCHO NOTORIOUS.This was because his left-wing politics fell foul of the House Un-American activities Commitee,and RKO boss Howard Hughes.As a result,Gough was blacklisted from Hollywood after this film,and did not appear in another until 15 years later(TONY ROME,1967).
Kennedy's thirst for revenge eventually takes him to a ranch run by former showgirl Marlene Dietrich,which is a haven for various killers,bad guys,gunfighters,etc.The man who carried out the brutal killing(Lloyd Gough)is one of the said above,and it takes Kennedy until the film's last few minutes to find out.
There are many positive aspects of the film,but as many negative.Lang's moody,Teutonic direction is a major plus here,as are fine performances by Arthur Kennedy and Marlene Dietrich,but others,such as a badly miscast Mel Ferrer,a very dated linking ballad which tends to provoke unintentional derision nowadays,and some highly unconvincing outdoor studio sets made even more so by colour(the film probably would have been more effective in Black and White).
One interesting piece of trivia:Lloyd Gough,who plays the brutal killer Kinch,did not receive a credit despite his pivotal role in RANCHO NOTORIOUS.This was because his left-wing politics fell foul of the House Un-American activities Commitee,and RKO boss Howard Hughes.As a result,Gough was blacklisted from Hollywood after this film,and did not appear in another until 15 years later(TONY ROME,1967).
- BJJManchester
- Sep 17, 2005
- Permalink
Chuck-a-Luck is a hole in the wall type ranch where men with prices on their heads hide out and are given protection by Altar Keane (Marlene Dietrich) and her lover Frenchy Fairmont (Mel Ferrer) for ten percent of the loot brought in my the outlaws. Chuck-a-Luck is called Rancho Notorious in the film's title, which does sound somewhat better. Unfortunately a terrible narrative theme, "The Legend of Chuck-a-Luck" used throughout the movie becomes very grating to the ears. The ballad singer William Lee (who is he anyway?) doesn't help the situation. Fortunately the songs chosen for the talented Marlene Dietrich to perform are much better (actually one "Gypsy Davey" is an old British ballad that Woody Guthrie turned into a cowboy song). Her renditions are not quite on the level of her "See What The Boys In The Backroom Will Have" from the western classic "Destry Rides Again" but are still captivating. (Interesting that she played a saloon girl named Frenchy in "Destry" whereas this time her lover is named Frenchy.)
This is one of few so-called adult westerns from the 1950's that actually lives up to that label. The flashback barroom scene where the soiled angels are riding their customers in a drunken mock horse race as jockeys would ride horses shows how fun and games in Old West saloons really took place. The whores are not prima donnas as oft times shown in Hollywood films. Pay particular attention to the gross fat showgirl trying to ride a much smaller client. It is funny and repulsive at the same time. Fritz Lang takes away all window dressing. Even Marlene Dietrich looks much more slutty and rough around the edges than she did in "Destry." Being over a decade older gives even more authenticity to Dietrich's character. She looks like a much older Lola Lola from "Blue Angel."
Mel Ferrer is an actor with a somewhat limited range. In the right role he could shine. His best acting was done in a movie that came out just before this one, "The Brave Bulls." But his second best role is as Frenchy in "Rancho Notorious." He fits his part much better than Arthur Kennedy fits his. Kennedy as a gunslinging rancher is fine but Kennedy the lover takes a suspension of belief, especially as Marlene Dietrich's lover. One can just imagine how he would look in the morning after one night with Altar Keane.
Fritz Lang's direction is spectacular. He captures all the nuances of the characters. His flashback technique at the first of the movie to define Altar Keane's persona is reminiscent of Orson Welles' milestone direction of "Citizen Kane." Then he progresses to an almost film noir western in color. The cinematography is much better in some parts of the film. It is not as effective when Frenchy and Vern (Arthur Kennedy) are together in the hills (the background sometimes looks phony) than when interior sets are used. Perhaps this relates to a money problem producing the show.
Another enjoyable facet of the feature is the gallery of colorful character actors who all do superlative jobs. George Reeves (tv's Superman) is lovingly menacing as a womanizing gun toting ambusher. Jack Elam is fine as a distrustful negative thinking thief. Frank Ferguson plays the outlaw called Preacher who prays and reads from the Bible for special guidance in robbing and killing. William Frawley (better known as Fred Mertz) shows a mean side playing a double dealing saloon gambler who fires Altar. Fuzzy Knight is an honest barber who tries to help Vern out of a mess. This time he doesn't stutter. Several other notables such as Tom London, Kermit Maynard, and Harry Woods have interesting bit parts.
If Lang could have borrowed Tex Ritter from High Noon to do an appropriate theme, "Rancho Notorious" would have been a winner all the way.
This is one of few so-called adult westerns from the 1950's that actually lives up to that label. The flashback barroom scene where the soiled angels are riding their customers in a drunken mock horse race as jockeys would ride horses shows how fun and games in Old West saloons really took place. The whores are not prima donnas as oft times shown in Hollywood films. Pay particular attention to the gross fat showgirl trying to ride a much smaller client. It is funny and repulsive at the same time. Fritz Lang takes away all window dressing. Even Marlene Dietrich looks much more slutty and rough around the edges than she did in "Destry." Being over a decade older gives even more authenticity to Dietrich's character. She looks like a much older Lola Lola from "Blue Angel."
Mel Ferrer is an actor with a somewhat limited range. In the right role he could shine. His best acting was done in a movie that came out just before this one, "The Brave Bulls." But his second best role is as Frenchy in "Rancho Notorious." He fits his part much better than Arthur Kennedy fits his. Kennedy as a gunslinging rancher is fine but Kennedy the lover takes a suspension of belief, especially as Marlene Dietrich's lover. One can just imagine how he would look in the morning after one night with Altar Keane.
Fritz Lang's direction is spectacular. He captures all the nuances of the characters. His flashback technique at the first of the movie to define Altar Keane's persona is reminiscent of Orson Welles' milestone direction of "Citizen Kane." Then he progresses to an almost film noir western in color. The cinematography is much better in some parts of the film. It is not as effective when Frenchy and Vern (Arthur Kennedy) are together in the hills (the background sometimes looks phony) than when interior sets are used. Perhaps this relates to a money problem producing the show.
Another enjoyable facet of the feature is the gallery of colorful character actors who all do superlative jobs. George Reeves (tv's Superman) is lovingly menacing as a womanizing gun toting ambusher. Jack Elam is fine as a distrustful negative thinking thief. Frank Ferguson plays the outlaw called Preacher who prays and reads from the Bible for special guidance in robbing and killing. William Frawley (better known as Fred Mertz) shows a mean side playing a double dealing saloon gambler who fires Altar. Fuzzy Knight is an honest barber who tries to help Vern out of a mess. This time he doesn't stutter. Several other notables such as Tom London, Kermit Maynard, and Harry Woods have interesting bit parts.
If Lang could have borrowed Tex Ritter from High Noon to do an appropriate theme, "Rancho Notorious" would have been a winner all the way.
Thirteen years after Marlene Dietrich lit up the old west and the town of Bottleneck in particular in Destry Rides Again, she got another chance to play an older, but maybe not so much wiser version of Frenchie as Altar Keane in Rancho Notorious.
Apparently at one time Marlene was as notorious a saloon entertainer as Frenchie back in the day. But she's got a new line of work. She's taken her money and got a ranch now that doubles as an outlaw hideout. For a cut in their loot she gives them asylum. The place is called Chuck-a-Luck and its known in the western criminal community.
Enter Arthur Kennedy who is after the man who raped, robbed, and murdered his fiancé, Gloria Henry. He's got a line on the guy who did the deed that he's headed for this mysterious place called Chuck-a-Luck.
Kennedy joins a pantheon of male Fritz Lang protagonists who get terribly wronged and are seeking vengeance. It's a good group, Spencer Tracy in Fury, Glenn Ford in The Big Heat, Henry Fonda in The Return of Frank James. Lang's heroes are looking for vengeance and there's not too much they won't do to get it.
Before Hitler came to power, Fritz Lang was the top German director and Marlene Dietrich their brightest female star. They had not worked together while in Germany, over here they got involved romantically for a bit, but never professionally.
They were friends, but that ended with Rancho Notorious. Lang may have been anti-Nazi, but on the soundstage he was a regular Prussian martinet. Henry Fonda hated working with him on the two films he did and so did Dietrich.
One of the sheltered outlaws is George Reeves, taking a hiatus from Superman. Reeves is a love and leave them type and for a while Kennedy thinks he's the one that killed Henry. He does a very good job in the part and it's tragic to think he was capable of so much more than a kid's television superhero.
Mel Ferrer plays Marlene's boyfriend, a flashy gunman who curiously enough is named Frenchy. He's not a western type by any stretch, but the point is that he is a cut above the usual outlaw bunch at the Marlene hideaway.
Rancho Notorious is not a great western, a great Fritz Lang film, and definitely not one of Marlene's better films. But it's entertaining enough and there ain't no one like Ms. Dietrich as a saloon entertainer.
Apparently at one time Marlene was as notorious a saloon entertainer as Frenchie back in the day. But she's got a new line of work. She's taken her money and got a ranch now that doubles as an outlaw hideout. For a cut in their loot she gives them asylum. The place is called Chuck-a-Luck and its known in the western criminal community.
Enter Arthur Kennedy who is after the man who raped, robbed, and murdered his fiancé, Gloria Henry. He's got a line on the guy who did the deed that he's headed for this mysterious place called Chuck-a-Luck.
Kennedy joins a pantheon of male Fritz Lang protagonists who get terribly wronged and are seeking vengeance. It's a good group, Spencer Tracy in Fury, Glenn Ford in The Big Heat, Henry Fonda in The Return of Frank James. Lang's heroes are looking for vengeance and there's not too much they won't do to get it.
Before Hitler came to power, Fritz Lang was the top German director and Marlene Dietrich their brightest female star. They had not worked together while in Germany, over here they got involved romantically for a bit, but never professionally.
They were friends, but that ended with Rancho Notorious. Lang may have been anti-Nazi, but on the soundstage he was a regular Prussian martinet. Henry Fonda hated working with him on the two films he did and so did Dietrich.
One of the sheltered outlaws is George Reeves, taking a hiatus from Superman. Reeves is a love and leave them type and for a while Kennedy thinks he's the one that killed Henry. He does a very good job in the part and it's tragic to think he was capable of so much more than a kid's television superhero.
Mel Ferrer plays Marlene's boyfriend, a flashy gunman who curiously enough is named Frenchy. He's not a western type by any stretch, but the point is that he is a cut above the usual outlaw bunch at the Marlene hideaway.
Rancho Notorious is not a great western, a great Fritz Lang film, and definitely not one of Marlene's better films. But it's entertaining enough and there ain't no one like Ms. Dietrich as a saloon entertainer.
- bkoganbing
- Dec 4, 2006
- Permalink
I'm not a Marlene Dietrich fan and don't really see Arthur Kennedy as being charismatic enough to interest her, and am not usually keen on background ballads, but I enjoyed this film from beginning to end.
Director Fritz Lang keeps the pace lively and brightens up the generally sombre mood with a couple of light-hearted sequences - first the "horse-race" with saloon girls riding cowboys and then the crooked politicians awaiting their fate in gaol.
"Variety" Film Guide calls the plot "corny", but it's no more so than many other films of the 1950s, or indeed of any other decade, and it's different to most Westerns of the period. And for those times it's also relatively direct in its treatment of sex; we are left in no doubt that Kennedy's fiancée has been raped and that the man Kennedy suspects of the assault is obviously out for what he can get from women.
One is not told how Kennedy acquires his gun-fighting skills - at the beginning a posse member points out his lack of these. The only weakness are a couple of "outdoor" scenes obviously filmed in the studio, where the rock formations are eye-catchingly unrealistic.
The acting is generally good, with Kennedy doing well as the grief- stricken hero seeking revenge and Mel Ferrer showing screen-presence as the slightly sinister and somewhat sensitive fast gun.
Director Fritz Lang keeps the pace lively and brightens up the generally sombre mood with a couple of light-hearted sequences - first the "horse-race" with saloon girls riding cowboys and then the crooked politicians awaiting their fate in gaol.
"Variety" Film Guide calls the plot "corny", but it's no more so than many other films of the 1950s, or indeed of any other decade, and it's different to most Westerns of the period. And for those times it's also relatively direct in its treatment of sex; we are left in no doubt that Kennedy's fiancée has been raped and that the man Kennedy suspects of the assault is obviously out for what he can get from women.
One is not told how Kennedy acquires his gun-fighting skills - at the beginning a posse member points out his lack of these. The only weakness are a couple of "outdoor" scenes obviously filmed in the studio, where the rock formations are eye-catchingly unrealistic.
The acting is generally good, with Kennedy doing well as the grief- stricken hero seeking revenge and Mel Ferrer showing screen-presence as the slightly sinister and somewhat sensitive fast gun.
- Marlburian
- Sep 14, 2005
- Permalink
Rancho Notorious, despite the colorful title, is a dud. The film starts off with a stereotypical western beginning: Vern Haskell (Arthur Kennedy) is a nice rancher who goes on the trail of the outlaw that murdered his fiancé. The trail leads him to Chuck-a-luck, a haven for outlaws run by former saloon girl Altar Keene (Marlene Dietrich). He soon enters into a torrid love triangle between him, Altar and veteran gunslinger Frenchy Fairmont (Mel Ferrer), while also trying to find the murderer of his fiancé.
Directed by Fritz Lang(!), Rancho Notorious is definitely an interesting film. The first half of the film, covering Vern trying to discover Chuck-a-luck, is actually quite good. The scene with Vern, Frenchy and the politicians is quite fun. However, the rest of the film is standard western stuff, and I kinda zoned out towards the end.
The uncharismatic Arthur Kennedy is awful in the lead; the production crew uselessly tried to make Mel Ferrer look older than Kennedy but putting a grey streak in his hair! Hearing everyone calling 38-year old Kennedy "boy" got grating after a while.
Marlene gives a typically good performance, while Ferrer gives the best performance of the film as the weary gunslinger (I wish the film had been about his character instead). William Frawley gets a memorable bit as a saloon owner, and Chuck-a-luck is populated by recognizable faces like George Reeves, Francis McDonald and Dan Seymour.
Overall, Rancho Notorious wastes the talent of the people involved, though it's still an entertaining 89 minutes.
Directed by Fritz Lang(!), Rancho Notorious is definitely an interesting film. The first half of the film, covering Vern trying to discover Chuck-a-luck, is actually quite good. The scene with Vern, Frenchy and the politicians is quite fun. However, the rest of the film is standard western stuff, and I kinda zoned out towards the end.
The uncharismatic Arthur Kennedy is awful in the lead; the production crew uselessly tried to make Mel Ferrer look older than Kennedy but putting a grey streak in his hair! Hearing everyone calling 38-year old Kennedy "boy" got grating after a while.
Marlene gives a typically good performance, while Ferrer gives the best performance of the film as the weary gunslinger (I wish the film had been about his character instead). William Frawley gets a memorable bit as a saloon owner, and Chuck-a-luck is populated by recognizable faces like George Reeves, Francis McDonald and Dan Seymour.
Overall, Rancho Notorious wastes the talent of the people involved, though it's still an entertaining 89 minutes.
- guswhovian
- Aug 29, 2020
- Permalink
I've heard RN called underrated and under appreciated and I can see why. It's not the best or perfect but it's different from most. The story is lean but heavy in undertones and gives it weight and moves along well.
- whiterabbit06
- Feb 23, 2019
- Permalink
When the film begins, Vern Haskell (Arthur Kennedy) is shown with his fiancé. However, shortly after Vern leaves her store, a thug wanders in to rob the place and then assaults and murders her as well. Vern makes it his life work to track down the killer and punish him, but he has very few clues. Through much of the film, he's on the trail and eventually finds his way to a wanted man, Frenchy Fairmont (Mel Ferrer). He arranges to break Frenchy out of jail...and pretends to be a bad guy in the hope that Frenchy takes him to the rest of the gang and the murderer. Once with the gang, however, like EVERYONE in this film he inexplicably falls for the charms of Altar Keane (Marlene Dietrich)--a woman who runs sort of a hostel for crooks called 'Chuck-A-Luck'. Vern's problem now is what to do...keep on his path of revenge or settle down with Altar and her feminine wiles.
While I know a lot of folks love this film, for me it was problematic to watch due to the casting. Like Joan Crawford in "Johnny Guitar", the leading lady (Dietrich) was just too old and unattractive to be portraying such a vivacious and sexy character. Some women are still gorgeous at 51, but, sadly, Dietrich here is just kind of sad playing a sexy siren. This is a severe knock against the film as is the annoying song "Chuck-A-Luck", though otherwise it is well acted, written and directed (by Fritz Lang of all people). Enjoyable but seriously flawed.
While I know a lot of folks love this film, for me it was problematic to watch due to the casting. Like Joan Crawford in "Johnny Guitar", the leading lady (Dietrich) was just too old and unattractive to be portraying such a vivacious and sexy character. Some women are still gorgeous at 51, but, sadly, Dietrich here is just kind of sad playing a sexy siren. This is a severe knock against the film as is the annoying song "Chuck-A-Luck", though otherwise it is well acted, written and directed (by Fritz Lang of all people). Enjoyable but seriously flawed.
- planktonrules
- Apr 12, 2016
- Permalink
A honest rancher, palming himself off as an outlaw to gain acceptance into a fraternal haven of gangsters hiding out in the sticks, is only after the varmint who murdered his fiancée--but ends up feeling a strong sexual attraction to the woman who runs the Chuck-a-Luck, a former saloon hostess with a colorful reputation. Fritz Lang-directed western was plagued with problems (both during the production and after), although Marlene Dietrich--allegedly the cause of most of the on-set turmoil--gives a must-see performance as the notorious Altar Keane ("They even named a railroad car after her!"). Throaty, sensuous, and no-nonsense, Dietrich is willing to go all the way with this role, and one can practically feel the binds holding her back. Arthur Kennedy is better than usual as the newcomer to Dietrich's brood of happy killers and robbers (he and Marlene have palpable chemistry), but Mel Ferrer is stiff and unsure as suave outlaw Frenchy Fairmont (the cartoonish name doesn't match the actor playing the role). The deep, mellow colors are beautiful, and yet the Technicolor cinematography heightens the artificiality of the indoor sets. Not a great picture, and one that is prodded along by a laughably corny folk ballad, though Lang does manage to come up with a few fresh twists on the genre and the supporting players are solid. ** from ****
- moonspinner55
- Jul 28, 2010
- Permalink
When his fiancé Beth is raped and murdered during a robbery, peace-loving rancher Vern Haskell sets out to track down the man that did it. Driven by a desire for revenge more than justice, Haskell follows the trail to a casino and bordello called Chuck-A-Luck. Here he follows his leads to Alter Keane and gunslinger French Fairmont; they take him onto their staff at their horse ranch and gang HQ and Haskell hopes to use his cover to get his closer to finding out who it was that raped his girl. However in keeping his cover, Haskell finds himself drawn into their world more and more.
The staples of westerns of the period are all here revenge, Technicolor, songs and romance; however this film opens with a rape (and it is fairly obvious that it was a violent rape) and a nice man who descents into violent anger. In a way the film makes this its central theme but it doesn't continue in this very strong vein and softens it somewhat with the addition of romance and musical interludes. From here on in it is still enjoyable but never marks itself out as more than a solid genre western; the complexities that I had hoped would consume him were not to be found in Haskell to any great degree. Despite this the plot still works well enough to engage and the gruff pace avoids sentimentality and makes the tough romance easier to swallow in context. The action is roundly enjoyable and Lang directs well within the sets, providing some good shots that stick in the mind.
The cast are mixed but generally meet the standard required of them. Dietrich may have demanded she be made to look as young as possible but her age helps stand her apart from the usual love interest actresses. She is tough and enjoyable in her role but I could have done without the songs. Kennedy is reasonably good but not too comfortable with his character he is either a white knight or a gurning ball of rage; subtlety is not his key word. Ferrer is lively and fun and makes more of his character than the genre usually allows the "other man" character to do. Support from Elam, Reeves and others is all solid enough to make it work.
So an enjoyable genre western then but a bit disappointing for throttling back after such a tough start. The standard revenge plot is made more interesting by the change in Haskell but it could have been better; meanwhile the usual action, songs and romance all work pretty well and will easily please genre fans.
The staples of westerns of the period are all here revenge, Technicolor, songs and romance; however this film opens with a rape (and it is fairly obvious that it was a violent rape) and a nice man who descents into violent anger. In a way the film makes this its central theme but it doesn't continue in this very strong vein and softens it somewhat with the addition of romance and musical interludes. From here on in it is still enjoyable but never marks itself out as more than a solid genre western; the complexities that I had hoped would consume him were not to be found in Haskell to any great degree. Despite this the plot still works well enough to engage and the gruff pace avoids sentimentality and makes the tough romance easier to swallow in context. The action is roundly enjoyable and Lang directs well within the sets, providing some good shots that stick in the mind.
The cast are mixed but generally meet the standard required of them. Dietrich may have demanded she be made to look as young as possible but her age helps stand her apart from the usual love interest actresses. She is tough and enjoyable in her role but I could have done without the songs. Kennedy is reasonably good but not too comfortable with his character he is either a white knight or a gurning ball of rage; subtlety is not his key word. Ferrer is lively and fun and makes more of his character than the genre usually allows the "other man" character to do. Support from Elam, Reeves and others is all solid enough to make it work.
So an enjoyable genre western then but a bit disappointing for throttling back after such a tough start. The standard revenge plot is made more interesting by the change in Haskell but it could have been better; meanwhile the usual action, songs and romance all work pretty well and will easily please genre fans.
- bob the moo
- Sep 24, 2005
- Permalink
The strange factor is what is foremost in this odd and artificial Western. Most Movie Westerns try to avoid false images that betray their fictional accounts. Here Director Fritz Lang has no notions. He seems to revel in the obvious false presentation of it all.
It is this wrapping of Studio Sets that announce their cardboard makeup rather than going at length to obfuscate that is troublesome. But, there are a few striking Scenes that linger in the imagination. The one with the Barroom Belles riding their Johns like broken Stallions stands out among a few others.
It is not a highly enjoyable Mythological trip to the old West, but that was probably the intent. After all, it is an Adult Tale all the way. The Story of a Rape and Murder and the inevitable, tireless, revenge rampage is hardly the stuff usually seen with Cowpokes among wide open spaces.
The antithesis of aesthetics doesn't always work here and there is some miscasting, most notably Arthur Kennedy who has a great snarl but falls way short in the wooing Scenes, and cannot overcome being blown off the Screen by Marlene Dietrich. But overall, this is viewable because of its quirkiness rather than despite of it.
On a final note, be prepared for the most intrusive accompanied Ballad, that like so many Westerns of the Fifties, felt it necessary to sing the Plot as it moves along. This is definitely the Worst and almost single handedly removes this from riveting to ridiculous.
It is this wrapping of Studio Sets that announce their cardboard makeup rather than going at length to obfuscate that is troublesome. But, there are a few striking Scenes that linger in the imagination. The one with the Barroom Belles riding their Johns like broken Stallions stands out among a few others.
It is not a highly enjoyable Mythological trip to the old West, but that was probably the intent. After all, it is an Adult Tale all the way. The Story of a Rape and Murder and the inevitable, tireless, revenge rampage is hardly the stuff usually seen with Cowpokes among wide open spaces.
The antithesis of aesthetics doesn't always work here and there is some miscasting, most notably Arthur Kennedy who has a great snarl but falls way short in the wooing Scenes, and cannot overcome being blown off the Screen by Marlene Dietrich. But overall, this is viewable because of its quirkiness rather than despite of it.
On a final note, be prepared for the most intrusive accompanied Ballad, that like so many Westerns of the Fifties, felt it necessary to sing the Plot as it moves along. This is definitely the Worst and almost single handedly removes this from riveting to ridiculous.
- LeonLouisRicci
- Aug 5, 2013
- Permalink
60/100. You would think the combination of Lang and Marlene Dietrich would be amazing, but this is my fourth viewing of the film over a 35 year period, and not once was I impressed with this movie. The score is a little overbearing and it just rarely rises above an ordinary western from the 1950's. I was disappointed in the art direction, the sets looked very obvious to me. It's a fair story given an okay treatment. I am in the minority on this one, but the film to me went from one cliché to another. Arthur Kennedy is a bland choice and lacks the fire needed for the role. Certainly it has some good visuals, so at least one of Fritz Lang's trademark touches came through.
A vengeful Wyoming ranch hand (Arthur Kennedy) relentlessly pursues the cowardly murderer of his fiancé (Gloria Henry). He eventually teams-up with a smooth brigand (Mel Ferrer) in the Southwest who takes him to a hacienda that's a secret sanctuary for hooligans led by a former saloon entertainer named Altar Keane (Dietrich).
The last of three Westerns directed by Fritz Lang, "Rancho Notorious" (1952) is a largely set-bound stylized 'B' movie that distorts reality in its implementation of artificial backdrops and shadowy interiors, which is why some view it as Western noir. The closest comparison would be "Johnny Guitar" (1954), but this one isn't in the same ballpark of exceptionalness. The story's just not as compelling.
Yet there's enough entertainment value here for those interested. Marlene was 50 during shooting yet still in shape and easily looking ten years younger. The amusing bar room race where the ladies ride the backs of drunken men like horses is a highlight with Altar Keane's pure joy at winning the race being priceless.
In the gambling sequence, look for a young Russell Johnson, aka the Professor on Gilligan's Island.
The film runs 1 hour, 29 minutes, and was shot at studios in North Hollywood and Hollywood (e.g. Republic Studios).
GRADE: B-
The last of three Westerns directed by Fritz Lang, "Rancho Notorious" (1952) is a largely set-bound stylized 'B' movie that distorts reality in its implementation of artificial backdrops and shadowy interiors, which is why some view it as Western noir. The closest comparison would be "Johnny Guitar" (1954), but this one isn't in the same ballpark of exceptionalness. The story's just not as compelling.
Yet there's enough entertainment value here for those interested. Marlene was 50 during shooting yet still in shape and easily looking ten years younger. The amusing bar room race where the ladies ride the backs of drunken men like horses is a highlight with Altar Keane's pure joy at winning the race being priceless.
In the gambling sequence, look for a young Russell Johnson, aka the Professor on Gilligan's Island.
The film runs 1 hour, 29 minutes, and was shot at studios in North Hollywood and Hollywood (e.g. Republic Studios).
GRADE: B-
Rancho Notorious is a gorgeous film, with beautiful Technicolor cinematography. It almost reaches the poetry of a John Ford film, or a great film noir, but falls just a little short. Arthur Kennedy plays Vern, a rancher whose fiancee is brutally raped and murdered. He goes out for revenge, following the clues. He ends up at Rancho Notorious, a hideout for outlaws run by Alder Keane, played wonderfully by Marlene Dietrich in one of her most memorable roles. She's fully in her philosophical mode here, like she was in Touch of Evil a few years later. She's so sad, so beautiful. She also has a great musical number. Mel Ferrer is also quite good as Frenchie Fairmont, a lethal cowboy who loves Alder. There are also a lot of great supporting actors playing colorful villains, especially George Reeves (T.V.'s Superman).
The story is quite great. There are a couple of problems with characterizations, especially Vern. He's mostly great. He's mostly a noir hero, flawed in his own right but always believing that he's on an entirely moral quest. The film goes wrong when he becomes the romantic hero. He's too creepy. Dietrich simply dominates him. Mel Ferrer fairs much better in that way. The climactic sequence also disappoints. The other major flaw is that damn theme song. Rancho Notorious is pulp, it's very over-the-top, but that goofy song would make anybody laugh. Also, the name Chuck-a-Luck inspired a lot of laughs in the audience (I was lucky enough to see it at a theater).
Overall, though, Rancho Notorious is a great film, quite haunting in its own right. It's one of Lang's best, by my reckoning, up there with Fury and M. 9/10.
The story is quite great. There are a couple of problems with characterizations, especially Vern. He's mostly great. He's mostly a noir hero, flawed in his own right but always believing that he's on an entirely moral quest. The film goes wrong when he becomes the romantic hero. He's too creepy. Dietrich simply dominates him. Mel Ferrer fairs much better in that way. The climactic sequence also disappoints. The other major flaw is that damn theme song. Rancho Notorious is pulp, it's very over-the-top, but that goofy song would make anybody laugh. Also, the name Chuck-a-Luck inspired a lot of laughs in the audience (I was lucky enough to see it at a theater).
Overall, though, Rancho Notorious is a great film, quite haunting in its own right. It's one of Lang's best, by my reckoning, up there with Fury and M. 9/10.
- doug-balch
- May 5, 2010
- Permalink
In a small town in the Wyoming, the pacific cowboy Vern Haskell (Arthur Kennedy) and his beloved fiancée Beth Forbes (Gloria Henry) will get married in eight days, and plan their lives living in a ranch of their own in eight years with many children. However, their dream is destroyed when Beth is raped and murdered by an outlaw during a heist in the store of her father. The full of hate Vern follows the trail of the criminal alone, and meets his partner, who was betrayed by the killer and shot on his back, dying in the desert. The bandit tells that his partner is going to Chuck-a-Luck hiding place, but nobody knows where it is. In his journey, Vern learns how to shoot and listens to many stories about the famous Altar Keane (Marlene Dietrich), a woman that worked in many cabarets and made a fortune gambling in a Chuck-a-Luck wheel helped by the hit-man Frenchy Fairmont (Mel Ferrer), the fastest trigger in the west. When Vern finds that Frenchy has just been captured and is arrested in the local jail, he shoots bottles in a bar to be sent to jail. Vern is locked with Frenchy and becomes his friend when he helps the hit-man to escape. They ride to a remote ranch in the border owned by Keane, actually a sanctuary for criminals, where Vern tries to find the murderer and revenge the death of Beth.
"Notorious Ranch" is a wonderful tale of hate, murder and revenge. I am not fan of the genre, but this western directed by Fritz Lang tells a solid and credible story, with characters very well-developed and supported by a magnificent cast leaded by Marlene Dietrich, Arthur Kennedy and Mel Ferrer. I only regret the poor quality of image of the Brazilian DVD, which has not been restored. My vote is eight.
Title (Brazil): "O Diabo Feito Mulher" ("The Devil Like Woman")
"Notorious Ranch" is a wonderful tale of hate, murder and revenge. I am not fan of the genre, but this western directed by Fritz Lang tells a solid and credible story, with characters very well-developed and supported by a magnificent cast leaded by Marlene Dietrich, Arthur Kennedy and Mel Ferrer. I only regret the poor quality of image of the Brazilian DVD, which has not been restored. My vote is eight.
Title (Brazil): "O Diabo Feito Mulher" ("The Devil Like Woman")
- claudio_carvalho
- Dec 24, 2007
- Permalink
**SPOILERS** Fritz Lang western circa 1874 about murder and revenge with Vern Haskell, Authur Kennedy, out by himself looking for the killer of his fiancé Beth Forbes (Gloria Henry), who was shot to death in a robbery. That in the end leads him to the notorious Chuck-O-luck Ranch owned by former saloon singer and dancer Altar Keane, Marlene Dietrich.
At the ranch after a number of adventures, where he's almost killed by both the local lawmen and criminals, Vern knows that one of the badman there who's being protected from the law is his fiancé's killer. For Vern to find out who is takes up almost the entire movie. The clue that gives killer away is a diamond broach that Altar has that was given to her by Beth's killer.
The killer gets the jump on Vern first by realizing who he is, by the way he mounts his horse, and that he's at the Chuck-O-Luck Ranch only looking for him and is not a wanted man like the rest of the desperadoes there. The killer then plans to knock him off in a coming bank robbery that the bunch of badmen at the Chuck-O-Luck planned the next day.
Off-the-wall cowboy film that has a lot of hidden meanings in it, like all of Fritz Langs movies. Marlene Dietrich more or less re-creates her role in "Destry Rides Again" that she made some 13 years earlier back in 1939 but this time she's a lot more subdued and no where as frisky in her role but the movie, to it's producers credit, is in glorious color not black and white.
So-so story that just doesn't take off at all but with a much better cast then you would have expected in it due to the fact that the legendary Fritz Lang directed it and it was bankrolled by Howard Hughs' RKO studios. Altar's ranch was a favorite among the local badmen since she provided safety food and shelter for them but at the cost of 10% of their illegal take and was making a fairly good living out of it. It seemed that the local sheriff was either totally unaware of what Altar was doing or was being paid off by her to look the other way. It was Altar falling in love with Vern to the dislike of her former lover the fugitive gunfighter Frenchy, Mel Ferrer, that caused sparks and bullets to fly and destroyed the sanctuary that she ran for so long.
In the end after the usual and customary western-style shoot-out with almost everyone in the cast ending up dead it was the two lovers of Altar, Vern & Frenchy, who rode off in the sunset together forgetting their differences about the rivalry that they had over her.The movie had a very irritating and annoying theme song all through it that made it come across more funny then serious. There's also George"Superman" Reeves playing Wilson who besides being one of the bad guys was also a big ladies man in the movie.
At the ranch after a number of adventures, where he's almost killed by both the local lawmen and criminals, Vern knows that one of the badman there who's being protected from the law is his fiancé's killer. For Vern to find out who is takes up almost the entire movie. The clue that gives killer away is a diamond broach that Altar has that was given to her by Beth's killer.
The killer gets the jump on Vern first by realizing who he is, by the way he mounts his horse, and that he's at the Chuck-O-Luck Ranch only looking for him and is not a wanted man like the rest of the desperadoes there. The killer then plans to knock him off in a coming bank robbery that the bunch of badmen at the Chuck-O-Luck planned the next day.
Off-the-wall cowboy film that has a lot of hidden meanings in it, like all of Fritz Langs movies. Marlene Dietrich more or less re-creates her role in "Destry Rides Again" that she made some 13 years earlier back in 1939 but this time she's a lot more subdued and no where as frisky in her role but the movie, to it's producers credit, is in glorious color not black and white.
So-so story that just doesn't take off at all but with a much better cast then you would have expected in it due to the fact that the legendary Fritz Lang directed it and it was bankrolled by Howard Hughs' RKO studios. Altar's ranch was a favorite among the local badmen since she provided safety food and shelter for them but at the cost of 10% of their illegal take and was making a fairly good living out of it. It seemed that the local sheriff was either totally unaware of what Altar was doing or was being paid off by her to look the other way. It was Altar falling in love with Vern to the dislike of her former lover the fugitive gunfighter Frenchy, Mel Ferrer, that caused sparks and bullets to fly and destroyed the sanctuary that she ran for so long.
In the end after the usual and customary western-style shoot-out with almost everyone in the cast ending up dead it was the two lovers of Altar, Vern & Frenchy, who rode off in the sunset together forgetting their differences about the rivalry that they had over her.The movie had a very irritating and annoying theme song all through it that made it come across more funny then serious. There's also George"Superman" Reeves playing Wilson who besides being one of the bad guys was also a big ladies man in the movie.
Fritz Lang's superlative western teeters dangerously on the edge of campness, (it's that infernal 'Legend of Chuck-a-Luck' ballad pounding away on the soundtrack, continually reminding us that this is a tale of 'hate ... murder and revenge'). Then, of course, there is that great gay icon Marlene Dietrich, looking extraordinary at fifty one as Altar Keane, boss of the outlaw hideout Chuck-a-Luck where Arthur Kennedy comes seeking the man who killed his girl in a robbery. In many respects the film is a perfect companion to Nicholas Ray's not dissimilar "Johnny Guitar", made around the same time and both featuring dominant women and weaker men and both dealing explicitly with 'hate, murder and revenge'.
This is a very tight piece of work, thematically dense and psychologically astute and directed by Lang in a truly classical style. It affords all the pleasures that a really good western should while still falling perfectly within a milieu recognizable from many of Lang's American works. "Johnny Guitar's" veiled lesbianism together with Nicholas Ray's growing reputation may have given it the edge but this, too, is a remarkable film, an essential work by one of the cinema's greatest directors.
This is a very tight piece of work, thematically dense and psychologically astute and directed by Lang in a truly classical style. It affords all the pleasures that a really good western should while still falling perfectly within a milieu recognizable from many of Lang's American works. "Johnny Guitar's" veiled lesbianism together with Nicholas Ray's growing reputation may have given it the edge but this, too, is a remarkable film, an essential work by one of the cinema's greatest directors.
- MOscarbradley
- Feb 27, 2006
- Permalink
- bsmith5552
- Dec 21, 2018
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- rmax304823
- Jul 29, 2010
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