Runtime: 89 minutes
Directed by: Fritz Lang
Starring: Marlene Dietrich, Arthur Kennedy, Mel Ferrer, William Frawley, Lloyd Gouch
From: RKO
A Fritz Lang Western starring Marlene Dietrich was something I was happy was in the cards, as the director and genre I’m happy to see more of & the star I’ve viewed precious little of. Of course it’s me so it took right before it leaving the Criterion Channel at the end of the month to press “play.”
The basic description would lead you to think this is generic: Arthur Kennedy is looking for revenge after a bandit “outraged her”-yes, what you think it is-then killed her during a robbery. The details are not only more complicated, this take on a Western from a European is rather darker than the norm. It took Kennedy’s Vern months to track down the villain to Chuck-a-Luck (named after an old gambling game), a ranch that serves as a hideout for criminals run w/ an iron fist by… Dietrich w/ the hilarious name ALTAR KEANE. She has Mel Ferrer as her main beau—his name Frenchy Fairmont also elicited a chuckle from me.
The time spent at the ranch with that trio plus a gaggle of fascinating, colorful characters was a delight, but even before then, there was a long stretch in the first act where Vern is first on the hunt, then he learns about Keane-which results in flashbacks where we see her as a showgirl, meet up w/ Fairmont, then become matriarch of the ranch-he meets up with Frenchy then they travel to Chuck-a-Luck. A tremendous 10 minute interlude is spent with those two gentlemen in a town having an election that day to vote out the corrupt SOB’s in charge. That segment was wholly unique to the genre, at least from what I’ve viewed. Also unique was Marlene and other women riding men like horses in a competition!
Even w/ such scenes, Rancho Notorious was not an upbeat revenge-o-matic; instead, this is a minimalist, downbeat tale where Vern continues to pay the price during his quest for vengeance, where even a love triangle causes anguish. Unsurprisingly, the direction, the Technicolor cinematography, some stunning visuals, and score are all aces; the narrative ballads that are heard a few times throughout… they at least brought me mirth in an otherwise serious tale. So did the expected songs from Dietrich.
For certain, doing an even deeper dive into Lang’s filmography is needed; I’ve enjoyed everything I’ve seen and more from his silent era is also needed.
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