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Original Title: 7 Men From Now

Genge: Action,Western

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ex-sheriff Ben Stride tracks the seven men who held up a Wells Fargo office and killed his wife. Stride is tormented by the fact that his own failure to keep his job was the cause of his wife's working in the express office and thus he is partly responsible for her death. Stride encounters a married couple heading west for California and helps them. Along the way they are joined by two n'er-do-wells, Masters and Clete, who know that Stride is after the express-office robbers. They plan to let Stride lead them to the bandits, then make away with the loot themselves. But they aren't the only ones carrying a secret.
A former sheriff, haunted by the loss of his wife in a Wells Fargo robbery, hunts for the seven men responsible for her death. Along the way, he assists a couple travelling west from Kansas City to California, and is forced to deal with another former outlaw he had once sent to prison.
A "B" western made so well it evolved into a masterpiece. The film is just as noteworthy for what it shows as what it leaves to your imagination. With a clever, complex villain that you gradually learn to care about, to a rugged, silent-type, lantern jawed hero. Randolph Scott plays the damaged hero, a former sheriff whose wife is killed during a robbery he can't prevent. His vendetta is against the seven men involved know his pursuit will be as relentlessly and inevitable as the passage of time. Motivated, complex characters and a simple but gripping plot add up to a truly memorable experience.
Exceptional western from Budd Boetticher, with Randolph Scott's genre icon status enhanced considerably thanks to his association with it (and the director, it would turn out) is a real gem that was given a resurgence thanks to a DVD release and heavy emphasis on Turner Classic Movies (especially concerning Budd's renown as a great director of the American western). Revisiting it on the Encore Western Channel, it was once again a real pleasure.

The story seems relatively simple, but it is the performances and direction that catapults it in quality. Scott is looking for revenge because a chest was robbed from a Wells Fargo bank residing in Silver Springs, his home town, leading to the murder of his wife (who worked at the bank because he was too full of pride to take a deputy position after losing his re-election as sheriff). Those seven men responsible are his targets, two killed right at the beginning of the film. Lee Marvin and Don 'Red' Barry are interested in recovering the loot if they can, tagging along with a stage being led to California by Scott (Walter Reed and Gail Russell, the married couple driving the stage, caught in a serious mud hole when Scott first meets them). Marvin spends time emasculating Reed (often referring to him as "half a man") while lustfully gazing and referring to Russell as a mighty fine ("full") lady he can't stop talking to Barry about. One scene, while it rains in the dark of the night, has Marvin mentioning a "yarn" about a tall man and a fine woman he took from her husband, obviously insinuating Scott's feelings for Russell (while also describing Russell in an intimate manner as Reed appears more than a bit uncomfortable).

Marvin steals the film as this rather opinionated, blunt, confident gunfighter, not afraid to face down anyone that would stand in his way of securing a hefty profit from someone else's thievery. Marvin's addition of the showboating with his pistols, combined with all the needling of Scott, is just a brilliant piece of work. His showdown with Scott isn't performed as if both men hated each other, but instead it is viewed as an unfortunate event between two men over the acquiring of the Wells Fargo loot. For Scott, it should be returned to its rightful place in memory of his wife, while Marvin shoots his own traveling companion just so he can have it all to himself. Using the great outdoors and not depending entirely on sets was ideal for Budd to exploit the drama/suspense such surroundings (especially during Scott's gunfight with the opposing forces wanting the loot he holds in his possession, fully expecting them to try to come and get it) could provide, and Scott, while always an actor who preferred to use a more subtle, quiet intensity, has a part suited to his style of performance. There's good backstory to feed the dramatics that eventually unwind in the conclusion. The twist involving Reed fuels the aforementioned dramatics, while this turn of events forces him to disprove Marvin's claims that he is a gutless half-man, which inevitably leads to his demise when John Larch's Payte Bodeen shoots him in the back. Larch is the rather colorless swine holding up in a saloon, as his men arrive wondering when the stage will bring them their loot. Larch tries to exploit the greed of Marvin, perhaps hoping he'll go after Scott, saving him the trouble of a showdown. Larch, instead, gets it from Marvin while hiding in the cracks of a mountain with plans to shoot Scott at his nearest convenience. I like how Marvin respects Scott, mentioning how he would prefer just to take the loot and not engage in a gunfight with Scott, but one man will not be walking away from this fateful confrontation alive.

I have always been drawn to westerns because often characters are given room to develop and evolve over the running time. My favorites, from Anthony Mann and actor Jimmy Stewart as an example, deal with facing your demons and frailties and emerging better than you once were, with a potential of a better life on the horizon as a result. Greed and avarice are bedfellows with the western, and these aspects find their way once again into the story of Seven Men from Now. The Wells Fargo loot brings out the worst in humanity; that lust for easy winnings leaves a lot of dead before Scott loads it on a wagon heading for where it rightfully belongs. Good work from Gail Russell (despite her issues with the drink), and she has plenty of chemistry with Scott; I love their quiet acknowledgment of their admiration/attraction for one another, and when conversations are shared, expressions are loaded with truth when dialogue is spare and kept at a minimum. Scott is gifted with the ability to say little and yet give us details with his face and eyes. Russell, it seemed, was just as talented and the story calls for her to relate how she (Reed and Scott, for that matter) feels even when not speaking. In fact, while I'm thinking about it, Budd seems intent on purposing his camera on faces and what they have to say, the dialogue giving us details from the past and outlining the developing story without encroaching on performance. This could eventually fall into my top five or so westerns…it is that damned impressive. The fact that this film remained relatively obscure for decades truly surprises me; of such quality storytelling and performance, you'd think those involved in its making would have pimped Seven Men from Now out as much as possible (especially considering Scott and Marvin's involvement).





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