THE EXQUISITE CHAMBER WESTERNS OF BUDD BOETTICHER, PART ONE: SEVEN MEN FROM NOW (1956)

In a brief span of four years, from 1956 to 1960, Director Budd Boetticher, writer Burt Kennedy and actor Randolph Scott collaborated on a series of seven “chamber westerns” which rank as one of the most rewarding achievements in the art of American Cinema.

While a number of prominent film critics, historians and luminaries have rightly praised the “Ranown” series (named after Boetticher’s production company), attention is often paid to the fact that Boetticher produced the series on a shoestring budget.  Thus, despite praise, the series and Boetticher himself are relegated to a second tier, “B” level, as if the monies poured into these films somehow affect and dictate their intrinsic value.

To the contrary, the Boetticher/Kennedy/Scott westerns are in every way equal to the larger budgeted collaborations of Ford and Wayne, Daves and Ford, Leone and Eastwood.

With these sparse, psychologically complex works, Boetticher did as much for the American western as Val Lewton did for the American Horror film in the 40′s.

The breakthrough Seven Men From Now (1956) was a long way from Ken Maynard’s white hat and bottle of milk atop a horse named Tarzan. It’s also far more aesthetically modernist, more taut, more complexly developed in character than the later, ultra-stylish westerns of Peckinpah and Leone (the exception being Peckinpah’s slightly overrated Ride the High Country, also starring Randolph Scott with Joel McCrea). Very few films in the genre can boast as richly developed characterizations. The Delmer Daves/Glenn Ford films along with the Anthony Mann/James Stewart cannon can arguably be mentioned in the same breath.

Seven Men From Now establishes Boetticher’s Ranown canvas. Randolph Scott was an actor of beautiful limitations and the director utilized Scott’s mere presence to compositional advantage.  The actor’s weathered face parallels the expressionistic, Cezanne-like rocky terrains.  Boetticher takes equal advantage of his hero’s range to etch a morally ambiguous personification.

Scott, out for revenge, seems, at first, to personify the mythological old west code of right and wrong.  He is ancient, laconic, sips coffee, and projects a virtuous nobility with a mere shifting of the eyes.  That is until his foil, Lee Marvin (superb here) astutely recalls how Scott had no qualms about stealing a friend’s wife.  Even Walter Reed, as Gail Russell’s weak, cowardly husband, surprises in an act of redemption. The power in the Boetticher films lies in the riveting conversations and in a shrewd slicing of viewer expectations.  There is a disconcerting, hushed quality throughout the film, even in those conversations, which project a tense, quiescent air of revelation.

Next week: perhaps the bleakest film of the cycle, The Tall T (1957).