Devil's Doorway

[movieman1957]

I saw this for the first time tonight. With a well put summary of the film here's a comment from Dewey from an earlier thread called "Anti-Racist Westerns."

"One of the strongest (if not THE strongest) anti-racist western films is DEVIL'S DOORWAY, a 1950 MGM film directed by Anthony Mann and beautifully photographed in black & white by John Alton. In it Robert Taylor plays Lance Poole, a Shoshoni Indian who also happens to be a decorated Union Army veteran (Congressional Medal of Honor). He returns to Wyoming after the Civil War in order to realize his dream of turning the land his father left him into a successful cattle ranch. But before long his land is seized from him thanks to the machinations of a thoroughly corrupt and overtly bigoted lawyer (well-played by Louis Calhern). It's a gut-wrenching struggle for Taylor and his Shoshoni kin that ensues and the depiction of it is nothing short of memorable--thrilling and suspenseful without a shred of morbid sentimentality. Taylor is outstanding (not to mention utterly believable) in this role and Alton's stunning photography rivals anything seen in any 1950s western. Why this film isn't more widely known is truly a mystery to me. If you've never seen it, do yourself a favor and check it out the next time it airs on TCM."



It is a well done feature. I don't quite share Dewey's thoughts on Taylor. To me he looks and acts like Robert Taylor in dark makeup. That's not a bad thing I just don't totally buy him as an Indian. Good action. Good support. It even has Spring Byington in a small role.

I'll have to see it again before I put it with "Winchester '73," though Mann thought it was the best script he ever read. (According to Osborne's intro) Good stuff. I'm always happy to find a new western to enjoy.

[Ann Harding]

Devil's Doorway has always been my favourite Mann's western, by far. The film is actually better known in France than in the US. I still have an old VHS of it. I'll have to watch it again very soon.

[Mr. Arkadin]

I saw it recently for the first time as well. I thought Taylor was believable because he didn't emulate many of the stereotypes that most actors fell into at that time of "how a Native American should act". Instead, it was a respectful tribute.

Taylor might not be the perfect Indian (whatever the botched idea of that is in Hollywood), but he makes Lance Pool human to us, similar to what Nils Asther created as a Chinese general in The Bitter Tea of General Yen (1933). In fact, both films strike a very similar chord with me in their themes and characters. We don't see these figures as embodiments of racial identites, but simply as men with passions and dreams like our own. While both films have great stories, they would be nothing without the sensitive performances given by Taylor and Asther.

[movieman1957]

I agree with you about Taylor. It was a respectful performance. The character was serious and dedicated. He was trying to live well in both worlds until the one shut him out. I like the development between Taylor and Raymond. It started as an alliance born out of need and the realization that they both have hurdles to overcome. She came to respect Taylor's rights and his responsibility. He, at least, understood her motivations.

[MissGoddess]

I saw it recently for the first time as well. I thought Taylor was believable because he didn't emulate many of the stereotypes that most actors fell into at that time of "how a Native American should act". Instead, it was a respectful tribute.

Taylor might not be the perfect Indian (whatever the botched idea of that is in Hollywood), but he makes Lance Pool human to us, similar to what Nils Asther created as a Chinese general in The Bitter Tea of General Yen (1933). In fact, both films strike a very similar chord with me in their themes and characters. We don't see these figures as embodiments of racial identites, but simply as men with passions and dreams like our own. While both films have great stories, they would be nothing without the sensitive performances given by Taylor and Asther.

Joel, you took the words right out of my mouth and of course, arranged them much more eloquently.

[moira finnie]

I loved aspects of Devil's Doorway (1950) and was quite surprised by the casting. The first time I saw this movie, I came in after the credits and didn't know who was in it. When I saw the opening scenes, I thought when I first came across it that the posture and dignity of the Indian presiding at the funeral was very arresting. After I had a gander at the star in closeup I was almost completely won over by the way that the director Anthony Mann used Robert Taylor's natural reticence, chiseled features and, well, stiffness to his advantage for once.

My only objection to the film? That makeup job using the heavy duty, dark & shiny mantan foundation by the renowned MGM makeup designer,Jack Dawn, which made me think this movie was meant to be an homage to the late, unlamented minstrel shows, not a thoughtful look at Indian culture and political consciousness. And I don't believe that people in 1950 were unaware of how unfortunate this makeup was and how potentially insulting it was to all people of color--though I realize that MGM may have been one of the last studios to address this sort of issue on any real level. Still, in that same period, Jeff Chandler in 20th Century Fox's Broken Arrow portrayed Cochise without applying burnt cork to his face like Al Jolson. How could they?

And, to top things off, a neglected actor, who started life as a very talented dancer, James Mitchell, also played an Indian in Devil's Doorway--though in more restrained makeup--and acted rings around just about everyone in the movie.

This movie, the noir, High Wall (1947) The Last Hunt (1956) and Party Girl (1958) made me realize that Taylor was trying to be a better actor before he left MGM, despite all those terrible boring movies he had to make for them, such as Quo Vadis, Quentin Durward, etc.

Despite my qualm about the "look" of Robert Taylor, the movie as a whole is well worth seeing. Hey, but maybe that's just me.

[feaito]

This a film I've been looking forward to watch, for quite a time.