Anthony Mann's THE FURIES

[MissGoddess]

The Furies - 1950

I relished watching this movie last night. There are some movies I "enjoy" watching or
have fun watching but this was something else again. I've never seen another Anthony Mann
movie like it, it's as if he was on full throttle when he directed it. It moves so quickly, the scenes
are rather short and move from event to event, building and building to a showdown. (I won't give away the
somewhat unexpected ending) As quickly as she goes, The Furies
covers a lot of territory both figuratively and literally.

T.C. Jeffords, played with hoary gusto by Walter Huston, is the monarch of all he surveys on
his vast ranch he calls "The Furies", and Barbara Stanwyck, playing Vance Jeffords, is
every inch her father's daughter. I don't know my Greek tragedy very well, but even I can
appreciate how vividly the director has placed classical conflict in a setting that seems
remarkably comfortable with it, the Old West. Add Waxman's driven, Spanish influenced score,
the dramatic imagery by DP Victor Milner (with special effects assistance by Farciot Edouart and
Gordon Jennings, two names more familiar to me than Milner's) and you have a real "horse
OPERA." The plot never gets buried in the dramatics or lost in the stylishness and it's very
unpredictable except that you just know the two main protagonists, if you can call them that, are
bound to clash cataclysmically.

The Furies begs for multiple viewings. So much happens so quickly that I felt I had to pay
extra close attention or risk missing something crucial. The script, by Niven Busch (novel)
and Charles Schnee is caustic, literate and witty but spare allowing the performances and
visuals to carry the story along like a whirlwind.

Providing inestimable character support are: Gilbert Roland as Juan, the loyal childhood
friend and unrequited lover of Vance who is also an unwelcome "squatter" on The Furies,
ensconced in a fortified eagle's lair high atop a cliff with his brothers and his mother (played with
witchy menace by Blanche Yurka). Juan is the only one who can bring out Vance's vulnerable
side and make her see where she's wrong. They share a bond forged in childhood, but Juan
knows he's not the one to win her heart; That's for Wendell Corey as "Rip Darrow" to do.
He is the heir of the neighboring ranch and a Jeffords implacable enemy by birthright. He's no
gentle Juan, he challenges Vance as much as her father ever did (lots of talk by Stanwyck about
putting the "bit in her mouth"). Thomas Gomez glowers about as "El Tigre," Jeffords'
henchman who pathalogically cannot resist instigating bloodshed at every
possible opportunity. And then along comes Judith Anderson
as "Flo", the calculating but pragmatic interloper at the ranch. She is TC's
new "bride" from the Capitol and Vance's rival for control of The Furies (i.e., control of TC).
Being that she's a woman, Vance will temporarily be at a loss as to how to deal with
Flo---men she understands but women are a mystery. Flo, though adept at manipulating
Washington power players, did not reckon with her hostess when she attempts to usurp Vance's
place and made plans to take over the former Mrs Jeffords' bedroom. Woman or no woman,
Vance deals with her the only way she knows how. Pretty effectively, too---and I NEVER saw it
coming.

The only character who never appears but who still seems to wield a certain influence and whose
presence is enshrined in a room that represents the only real "heart" or femininity at the
awesomely rough hewn ranch is the first Mrs TC Jeffords, the lady of the bedroom. Her portrait is
prominent in several scenes and her genteel ways referred to with wistful longing by Jeffords only
son, played with neutered chagrin by John Bromfield (sporting an inexplicable Elvis
pompadour. Where did that come from? It's the hair stylist* on this picture who should have
been strung up). Of course, we know who the real "son" of TC is, it's Vance.

There is even a small part for laconic Arthur Hunnicut, playing the only character in
the land without an agenda or a "fury" riding his back. And he even has a couple of choice lines.

What with unnatural rivalries and jealousies betwixt father and daughter, power plays between
lovers, betrayal and tests of loyalty between friends, not to mention about a hundred other
shenanigans, there is plenty in The Furies to keep you entertained and keep the more
analytical busy with their pocket Freud's for months.

I'm glad the Criterion Collection release includes the novel by Niven Busch because now
I would like to read it for comparison. I haven't explored the "extras" yet either, but will
do so hopefully soon while the movie is fresh. I will also try to post some screencaps,
perhaps tonight.

*If I have just one pitiful little criticism, it's Barbara's hairstyle which seems anachronistic but
really is just plain unflattering. It makes her look harsher and older than I'm sure her character
is meant to be.

[ken123]

Movita Castenada has a small role in The Furies as housekeeper for the Jeffords and the " special friend " of the married Albert Dekker. She was also in Cable's Mutiny on the Bounty, and John Ford's The Hurrican, Fort Apache, and Wagonmaster. She was also, in real life, married to Marlon Brando, she is in her 90's now.

[stuart.uk]

Hi Miss G

It's a while since I've seen The Furies, but remember it as a good film. I think along with California was the begining of the first of her Tomboyish roles that she consistantly played over the next decade.

I also like Judith Anderson (Edge Of Darkness is a fav), but I can't recall her role to well.

I was interested to here you say Stanwyck looked older than her character was meant to be. It reminded me of the later Cattle Queen Of Montana where she appeared to be playing a woman about 20-yrs younger than she actually was in reality. To be fair she pulled it off.

I was wondering if you thought Wendall Corey was a strong enough male lead for the great Miss. Stanwyck. To be fair he also played oppisite Kate Hepburn in The Rainman, but Burt Lancaster was the real male star there. It was the same with Loving You with Lizabeth Scott with Elvis Presley the real star of the film

PS. did you get a chance to see the Goodnight Mr. Tom I sent you. Hope you had a good holiday.

[MissGoddess]

Movita Castenada has a small role in The Furies as housekeeper for the Jeffords and the " special friend " of the married Albert Dekker. She was also in Cable's Mutiny on the Bounty, and John Ford's The Hurrican, Fort Apache, and Wagonmaster. She was also, in real life, married to Marlon Brando, she is in her 90's now.

Hi Ken---thanks for mentioning Movita, I most definitely noticed her and
her intriguingly obvious involvement with the Dekker character. I didn't
know she was also married to Brando, interesting!

[MissGoddess]

Hi Stuart! Haven't gotten to Mr Tom, yet, sorry, but it's on my list!

I enjoyed the movie so much and everyone seemed to play their
parts so well that I guess I really don't have any problem with
Wendell Corey in the role. I was wondering beforehand if I would.
What he does well is play "quiet strength" and in a rambunctious cast
like this one, it's practically his only option.

However, of the two romantic lead, I VASTLY prefer Gilbert Roland, oh
mamma mia what a man and he's so romantic and manly in this
movie.

[mrsl]

Hi:

Just sticking my 2 cents in to mention that while watching Maverick, I found that Budd Boettiger directed a few of the episodes. I only taped a few because I had big decisions to make. Watch Maverick, or JAG/NCIS marathons, or certain western movies on Hallmark. What a day!!!

Anne

[moira finnie]

Okay, I'll try this one more time...

The Erinyes, aka The Furies, were figures in Greek & later Roman mythology who were originally called Alecto (unceasing in anger), Tisiphone (avenger of murder), and Megaera (jealous). Sometimes depicted as females with snakes for hair bat like wings and blood dripping from their eyes, they sprang from the dripping blood of the god of Chaos Ouranos (Uranus). Their best buds seem to have been The Harpies, who hung out with them and helped them exact their revenge on those pesky mortals.

Over last weekend, I watched The Furies (1950) with a powerful cast led by Walter Huston, Barbara Stanwyck, Judith Anderson, Gilbert Roland and Wendell Corey for the first time. I actually watched it twice and then let the somewhat pontifical commentary on the dvd run while I puttered around.

As I let my thoughts about this Anthony Mann movie percolate away in the ol' noggin, trying to figure out which one (or is it all?) of the Furies that Babs might have been impersonating here, I was wondering if anyone else has seen this new Criterion issued dvd? My initial reaction is that even though I prefer Walter Huston's quiet yet masterful acting in films such as American Madness, Dodsworth and Edge of Darkness better than his more buffoonish yet still powerful portrayals such as this one, I'm so glad that ol' Walt got to deliver a robust, scenery chewing turn for his last time on film.

I'd love to know your thoughts on this interesting movie.

Barbara Stanwyck, unfortunately stuck in a blonde wig that may have been rejected for Double Indemnity, seemed to be playing a character 20 years younger than her actual age. That didn't bother me as much as the fact that in the leading role of Huston's daughter, she struck me as an actress trying hard to match Walter's bravura--and this is one time I don't think she can do it on such a sustained operatic scale. I sometimes think that except for Annie Oakley, I only like Babs in modern dress. I really can't say that I've enjoyed her Westerns much; but perhaps that's due to early exposure to The Big Valley when she seemed to me to be an angry, leathery old lady, not someone heroic, which is what she could play in her own unique way so well in so many modern roles, both comedy and drama. But I just couldn't buy her acting in The Furies. It seemed as though she was forcing her natural talent.

Yes, like the mythical Furies, she could definitely convey a person with blood in her eye, but in many ways Huston seems to be giving a tragicomic performance that pushes the envelope on the genre. He turns the Western epic--like that bull he wrestles in that awkward scene near the end--on its head. Sure, he's bigger than life, but he's also an unholy fool, who loves the sound of his own voice. At the end of the film, he has a tragic quality as he recognizes the rightness of his daughter's revenge and his passage from the earth. He seems relieved and grateful that it's finally ended.


Btw, April, that was a great point about the unseen mother, with her overly feminine, cluttered bedroom preserved, being present throughout the film, like a silent witness to all the events in the story. Like Miss G., for me, the heart went out of this film when Gilbert Roland's magnetic presence left the scene. His fatalistic acceptance of his own death may have irked some, but he underlined his character's own belief that there was something more in life than just this existence.

Juan, about to give up his life rather than see Vance's degrade herself asking for mercy for him. Dignity and loyalty was all to him.
While I think that his seeming passivity may have struck Babs' character, and even his brothers as madness, he achieved a dignity and status in death that he never had for Stanwyck in life, (at least in the movie). Roland is the only character who seems to live with an inner vision of a just, orderly world in this film. Actually, one of the greatest frustrations of this film was the blindness (there's that motif again!) of Babs to what Roland really represents: a life affirming mutual respect and love. No, she has to spend a lifetime playing psycho-sexual games with Wendell freakin' Corey.

Now, after seeing Corey and Stanwyck go down this path once before recently in The File on Thelma Jordon, I can see that he had more to offer than I'd realized when I was yelling at Katharine Hepburn to hop on Starbuck's wagon (driven by Burt Lancaster at his most appealing) at the end of The Rainmaker and NOT to settle for a life of routine in the dustbowl with Wendell, the steady-eddy sheriff. Corey could convey frustration very well, but in The Furies, he's asked to play a glib gambler with a mind like a calculator, right? Well, he had the cold eyes for it, but I saw nothing else in his stolid character that really indicated he was a dashing, devil-may-care gambling man.

Judith Anderson as the usurper of Stanwyck's place in her father's heart, home (not to mention bed) was particularly effective, and in her last scene, when she is a supposedly diminished character, she still commanded respect, and was quite remarkable. Did anyone notice the physical resemblance between Stanwyck (with her weapon of choice in this flick) and Anderson (seen above in an actual Greek tragedy)? They should have played mother and daughter.



Lastly, because this ambitious movie was directed by Anthony Mann it was utterly compelling. However, the story elements and casting might have been more coherent if, instead of the promise of Wendell and Babs marrying and having children at the last scene, (and, uh, how would you like to be the child, particularly the daughter, of Stanwyck's character, Vance?), they should have gone into a suitably dark future, with Vance, alone presiding over her barren kingdom. A much more fitting ending, perhaps. I have one question that I hope someone might be able to answer. Has anyone read the Niven Busch book, which I understand is quite different than the movie? I haven't been able to get a copy yet. Thanks.

Despite my quibbles, I would recommend this movie, especially to anyone who can appreciate the joy of seeing this fellow on screen:

[MissGoddess]

Hi Moira! I just loved what you wrote here about the Gilbert Roland Character:

Juan, about to give up his life rather than see Vance's degrade herself asking for mercy for him. Dignity and loyalty was all to him.
While I think that his seeming passivity may have struck Babs' character, and even his brothers as madness, he achieved a dignity and status in death that he never had for Stanwyck in life, (at least in the movie). Roland is the only character who seems to live with an inner vision of a just, orderly world in this film. Actually, one of the greatest frustrations of this film was the blindness (there's that motif again!) of Babs to what Roland really represents: a life affirming mutual respect and love. No, she has to spend a lifetime playing psycho-sexual games with Wendell freakin' Corey.

I completely agree with your every word here. Roland's character was indeed the heart and soul of the story.

And I also infinitely prefer your idea for an ending than the actual one. I say that, knowing how I usually go for the traditional happy ending fade-out. But for this story, yours would have been the PERFECT one.

I did notice the resemblence between Judith and Barbara! That makes their contentious relationship more interesting.

Moira---didn't your copy of The Furies from Criterion include a copy of the book??? Mine did!

[moira finnie]

Moira---didn't your copy of The Furies from Criterion include a copy of the book??? Mine did!

No, Miss G. My copy of The Furies came from Netflix, so the only extras were on the disc. I'll have to keep hunting down a copy of the book, though I'd love to read your take on the novel.

I suspected that you might think Gilbert Roland was pretty vital to this movie. I think we must ask TCM to devote a night, if not a month, to this actor soon.

[Mr. Arkadin]

I wanted to respond to this thread because I like The Furies a lot, but haven't seen it in years. I got the Criterion DVD and book awhile back, but have been busy elsewhere. I guess it's time to reprioritize.

While the characters are definite "types" played in a bold manner, The one weakness of the film seems to be the central character shift from one player to another. Mann usually establishes a hero and journeys though the movie with him. Here, the film flips back and forth between Stanwyck and Huston and doesn't really define itself. I actually liked that aspect of it, but I can see where it would turn many off.

[feaito]

I watched Anthony Mann’s “The Furies” (1950), which is a great western that plays more like a Greek Tragedy set in the West. Ruthlessness, Recklessness, Greed, Jealousy, Revenge, Electra complex, Ambition, Loyalty et al. All these words depict the plot of this masterful picture.

Walter Huston, as usual, gives a superb performance as the Cattle Baron and king of The Furies Ranch. Barbara Stanwyck impersonates magnificently his ruthless, no-holds barred daughter, who stands her own gorund against his father. Enter Wendell Corey, who plays the man for whom Stanwyck falls for. She slaps him, he slaps her back, what a relationship! Full of passion and violence. I was impressed by Mr. Corey playing such a strong man who could confront Ms. Stanwyck. These Jeffords look like relatives of the Giddens!!

Gilbert Roland plays Stanwyck’s best friend, but he loves him as a woman; she sees him only as a brother. The most beautiful, sensitive and tender moments of this film belong to the interplaying between these two characters. When Stanwyck says goodbye to Roland’s character (Juan Herrera), it’s truly heartwrenching. Blanche Yurka plays the Herreras brothers’ –led by Gilbert Roland- mother and she is terrific; really frightening, with that out-of-this world laugh of hers. And if it all this weren’t enough, we have Dame Judith Anderson playing a lady who uses his charms on old T.C. Jefford –Huston- and who is the recipient of Stanwyck’s hatred. These two nemesis confronting each other are wonderful to behold! And the scene which features Anderson, Stanwyck and Huston in the latter’s first wife’s bedroom is simple astounding.

The cinematographer used darkness to great advantage in this wonderful movie.

A magnificent film.

[movieman1957]

I watched it again last week. I should have read all these comments before I saw it. All of you have a real gift for writing.

One thing struck me about the characters in this and that it is hard to like any of them. Maybe that helps make good drama. If take away Gilbert Roland's character you lose that which gives Stanwyck's any heart at all. She is strong, demanding, a bit evil and a spoiled little girl. I was especially struck by that when Huston brings home Anderson and asks her to scratch his back rather than Barbara. (That has been her thing for a long time. She can't stand to be replaced in this most mundane but very personal way.)

It's a good looking film. Huston plays it big. Moira's right in that it seems Barbara tries to keep up. It does give Wendell Corey a good role though.

No need to elaborate on the fine commentaries but I agree that it is worth watching. It certainly could use some more air time.

[JackFavell]

Oh my goodness, I hadn't seen this thread before - what great writing! MissG, you really were able to get the flavor of the movie across perfectly, and Moira, you made me laugh hard, discussing Wendell Corey's blahness. I couldn't have said it better myself. I've always screamed at Kate Hepburn too.

I think it might be interesting to compare The Furies with Mourning Becomes Electra. To me, The Furies is by far the better movie, translating the mythic qualities much more easily to the old west. However, I like both movies, flawed as they are.

[Rita Hayworth]

I watched Anthony Mann’s “The Furies” (1950), which is a great western that plays more like a Greek Tragedy set in the West. Ruthlessness, Recklessness, Greed, Jealousy, Revenge, Electra complex, Ambition, Loyalty et al. All these words depict the plot of this masterful picture.

Walter Huston, as usual, gives a superb performance as the Cattle Baron and king of The Furies Ranch. Barbara Stanwyck impersonates magnificently his ruthless, no-holds barred daughter, who stands her own gorund against his father. Enter Wendell Corey, who plays the man for whom Stanwyck falls for. She slaps him, he slaps her back, what a relationship! Full of passion and violence. I was impressed by Mr. Corey playing such a strong man who could confront Ms. Stanwyck. These Jeffords look like relatives of the Giddens!!

Gilbert Roland plays Stanwyck’s best friend, but he loves him as a woman; she sees him only as a brother. The most beautiful, sensitive and tender moments of this film belong to the interplaying between these two characters. When Stanwyck says goodbye to Roland’s character (Juan Herrera), it’s truly heartwrenching. Blanche Yurka plays the Herreras brothers’ –led by Gilbert Roland- mother and she is terrific; really frightening, with that out-of-this world laugh of hers. And if it all this weren’t enough, we have Dame Judith Anderson playing a lady who uses his charms on old T.C. Jefford –Huston- and who is the recipient of Stanwyck’s hatred. These two nemesis confronting each other are wonderful to behold! And the scene which features Anderson, Stanwyck and Huston in the latter’s first wife’s bedroom is simple astounding.

The cinematographer used darkness to great advantage in this wonderful movie.

A magnificent film.

You described this movie just beautifully ... that Is how I would describe it. I love this movie too! :!:

[feaito]

Thank you Kingme