Pursued

`Pursued' is ranked among Walsh's best westerns. It's inferior to `Colorado Territory' (probably Walsh's best), but forms a trilogy of underrated masterpieces with `Along the great divide' and `Gun fury'.

This peculiar film incorporates elements of the film noir, a genre frequently visited by the director. The story unfolds through a series of flashbacks in which the hero Jeb Rand (Robert Mitchum) struggles to evoke an obscure incident of his early childhood. This memory might give him the key to deal with a series of tragedies that take place one after the other with no apparent reason.

The film loses its logic early on, and we are so engaged in Walsh's storytelling, that we don't mind. Nothing makes sense here. Everything is disconnected, from Theresa Wright's progression into blind revenge (she wants to marry Jeb to shoot him on his wedding night), to Micthum's stoic acceptance of his misfortunes. All might be dictated by luck (the flipping of the coin, the casino), but that luck can be manipulated too (the wheel of fortune incident, later picked up by Lang in `Rancho Notorious').

This is not John Ford's contemporary universe ruled by tradition and heroism. In fact, the film's tone anticipates the pessimistic mood of Ford's `The Searchers'. `Pursued' is like a farewell to classicism, is turning away from an era fell down like the hero's cottage. Walsh is opening the door to a new expressionism in western, eventually taken over by Mann and Boetticher.

In this film, whose dramatic structure is as pure as a greek tragedy, even celebrations are sad, as when Mitch comes as a hero of war. Right during the welcoming there's plotting against him going on. The star here is James Wong Howe's photography. The interiors are sombre, the exteriors are wasted. The night scenes are as nocturne as any western ever portrayed. The funeral scene is pure pictorial ciaroscure. The overwhelming landscape of Gallup, New Mexico (used again in `Colorado Territory') acquire a dramatic and oppressive meaning, significant enough to match Ford's utilization of Monument Valley.

Walsh's direction turns a standard script into a sordid exploration of human misery. It could have take the form of a dream (Mitchum appears like a sleepwalker throughout the entire film), but thanks to Howe's outstanding photo and Steiner's powerful score, it developed into a nightmare.

Described in my TV film guide as a noir Western, I'm not about to argue. Unlike more typical director Raoul Walsh fare this western is far less about rollicking action than psychological drama and is thus a refreshing change from the norm.

That said, Robert Mitchum's about the last person you'd think of being traumatised by childhood nightmares that dog him into adulthood, but elsewhere we get all his usual "ics" - laconic, sardonic, ironic and of course ultimately iconic. The story probably has too many twists and turns for its own good, with Bob's on-off again romance with Teresa Wright, she less convincing in her star-crossed lover role, hard to believe at the best of times. I also couldn't quite swallow badman Cullan's all-powering motive to wipe out every member of Mitchum's family, himself being the last survivor, while the reveal-all conclusion is over and done with too quickly and doesn't really deserve its build up.

I've always been a sucker, mind you, for the then in-vogue use of dollar-book Freud stuff as Orson Welles once described it and other noir conventions like the use of flashback sequences and the persistence of fate are present and correct enhanced by a moodily effective Max Steiner score. No one else in the cast has Mitchum's charisma, but the debut turn by Mitchum's brother is well done and an effective counterweight to Bob's work. Best of all though is James Wong Howe's marvellous photography with wonderful deep perspective interiors and some exceptional night work, particularly the scene where Mitchum is drawn into the fatal gun-fight with his "brother".

There's much to savour then, even if the weakest element is probably the story itself which is really just a typical noir plot backdated to the turn of the century.

Pursued (1947), a noir Western directed by the great Raoul Walsh and stars Robert Mitchum, Teresa Wright and Judith Anderson.

The plot is simple enough: Set in New Mexico (and shot there too) around the turn of the century and told in flashback, the film tells the story of Jeb Rand (Robert Mitchum) whose family was murdered when he was a small boy. The sight of this haunts him, which manifests itself in bad dreams, into adulthood, as he is brought up by Mrs. Callum (Judith Anderson) and her two children, including Thor (Teresa Wright), whom he falls in love with. When the killers (led by the effectively cool Dean Jagger) discover that he exists and the only Rand left, they vow to kill him too. But Rand also has other problems to sort out, especially his jealous half-brother Adam Callum (John Rodney).

The photography, by the esteemed James Wong Howe is breathtaking, all harsh black-and-white vistas; the editing too, by Christian Nyby (who would later go on to take credit for directing the classic science fiction film The Thing from Another World! [1951]) is above average, and the music by Max Steiner is up to the same high standard of the of his other classic scores. The direction is brilliantly handled by Walsh and the screenplay by Niven Busch throws up more than a few surprises. Robert Mitchum is his usual laconic self (which is no bad thing!), Judith Anderson as always is excellent, Teresa Wright is good as Mitchum's half-sister and love and Dean Jagger, Alan Hale and Harry Carey Jr. all turn in memorable performances. The film itself has been influential, being homage in Sergio Leone's Once Upon a Time in the West and Martin Scorsese has talked about his great admiration for it. This was also, tragically, the last movie "The Doors" singer Jim Morrison watched before he did on July 3, 1971. Pursued is an extremely good Western noir that deserves to be much more well known than it is and I strongly urge fans of either Westerns or noir's to see it.

Looking at the other reviews for "Pursued", I don't think I have to repeat the plot summary for this dark, thoughtful 1947 western, directed by Raoul Walsh. And so the stage is set for what has been called the first psychological western. You can safely throw in film noir and melodrama, as well.

Robert Mitchum and Theresa Wright are very good as the possibly doomed couple. The story told in flashbacks and flashbacks within flashbacks with the narration of Robert Mitchum, a relentless villain, a hidden family mystery...plus gunfights and New Mexico scenery.

Interesting camera-work is the main attribute of this late 1940s western. It plays and looks more like a film noir than a western, but there is nothing wrong with that. I enjoyed that aspect, especially the noir-like cinematography. I say the latter because of all the stark black-and-white contrasts, night scenes and facial closeups.

Conclusion - I'd call this a must-see film, I find it has lots of great moments.It's a movie I enjoy watching again and again. Robert Mitchum, Teresa Wright, Judith Anderson, Dean Jagger and company all acted well, and I appreciated their talents. Great Film..

Raoul Walsh's strange, noirish Western isn't much seen these days but "Pursued" is still something of a classic. It was an original screenplay by the novelist Niven Busch and is told in flashback by Robert Mitchum who is the pursued of the title. He's the adopted son of Judith Anderson who took him in after his family is killed. The thing is, it was Anderson's brother-in-law, Dean Jagger, who was responsible for the family's murder to begin with. Subsequently, Mitchum is haunted by memories of his past as he finds himself falling in love with his adoptive sister, Teresa Wright.

You might say, then, that this is far from being a conventional western yarn. I mean, in how many other westerns do you find a romantic relationship developing between a brother and sister, even if they are not blood relatives, or where a brother-in-law and sister-in-law can be so diametrically opposed in what is a family feud. The performances are mostly fine but the real star of the picture is James Wong Howe's stunning black-and-white cinematography. This film may not be as well-known as it should be but it has certainly built up a considerable cult reputation.