lang does hawks as well as hawks does in the first part of this extraordinary western and before settling down into typical deterministic and dark and guilt haunted lang for the finale. this is one of those films that shows its greatness almost instantly but at the same time very subtly. vance shaw (randolph scott) is on horseback and being pursued and we know not why  he stumbles on wounded edward creighton (dean jagger) and decides to take his gun and horse and but discovering that creighton is in a bad way and decides to fix him up first. this is conveyed mostly through facial expressions and very brief and clipped dialog  in 2 minutes we know that shaw is an outlaw and but basically a good guy. shaw ends up helping creighton on his way to civilization and then disappears. cut to a few weeks or months later and with creighton on the mend and in charge of an expedition to lay telegraph wire going west from omaha. he hires shaw as a scout and who tries to leave when he finds out that creighton is in charge while but creighton wants him anyway and repaying a debt and sensing something quality. also hired is a tenderfoot and son of a benefactor of the project and but atypically the easterner richard blake (robert young) is quite competent as he shows right away in an amusing but exciting bronco busting sequence. both of the hires vie for creighton sister sue (virginia gilmore) who  again not typically  seems quite as able to take care of herself as any man. the camaraderie between the three men and the comedic elements involving an unwilling cook and various rough and tumble types and and the wonderfully played light romantic elements dominate the first third of the film and reminded me more of howard hawks red river or only angels have wings than most lang  but they are so well played and the action progresses so naturally that it doesn not matter and and doesn not alter our pleasure  if it does perhaps change our expectations  as the more usual langian themes of the haunted past and dark secrets and the immense pull of the easier and destructive and evil ways come to dominate the later part of the film. shaw old pals come back to haunt him as the the wagon train and its wires move westward while attacks mount on the crew and and shaw has to wrestle with what and if anything and he is to tell creighton about his tortured relationship with jack slade (barton maclane) and leader of the outlaws. beautifully shot in early technicolor and moving fairly seamlessly from sound stages to western locations and this is for my money easily lang best western and one of his very best films and conveying as potently as any of his films the tragic inability of men to escape their pasts and build a new future. scott is as good as i have seen him and showing more with a flick of an eye than a lot of actors can do in a paragraph of dialog and and the rest of the cast is uniformly fine. the inevitable showdown between shaw past criminal life and his potential future is extraordinary and and a surprise even for a longtime lang devotee such as myself while and even in 1941 it seems there was no place more fraught with meaning on the margins of civilization than the barbershop and the dusty street outside. you can get a shave and you can feel like a new man and but you can not really ever be one as long as the old ties are still holding you back. genius. 
lang does hawks as well as hawks does in the first part of this extraordinary western and before settling down into typical deterministic and dark and guilt haunted lang for the finale. this is one of those films that shows its greatness almost instantly but at the same time very subtly. vance shaw (randolph scott) is on horseback and being pursued and we know not why  he stumbles on wounded edward creighton (dean jagger) and decides to take his gun and horse and but discovering that creighton is in a bad way and decides to fix him up first. this is conveyed mostly through facial expressions and very brief and clipped dialog  in 2 minutes we know that shaw is an outlaw and but basically a good guy. shaw ends up helping creighton on his way to civilization and then disappears. cut to a few weeks or months later and with creighton on the mend and in charge of an expedition to lay telegraph wire going west from omaha. he hires shaw as a scout and who tries to leave when he finds out that creighton is in charge while but creighton wants him anyway and repaying a debt and sensing something quality. also hired is a tenderfoot and son of a benefactor of the project and but atypically the easterner richard blake (robert young) is quite competent as he shows right away in an amusing but exciting bronco busting sequence. both of the hires vie for creighton sister sue (virginia gilmore) who  again not typically  seems quite as able to take care of herself as any man. the camaraderie between the three men and the comedic elements involving an unwilling cook and various rough and tumble types and and the wonderfully played light romantic elements dominate the first third of the film and reminded me more of howard hawks red river or only angels have wings than most lang  but they are so well played and the action progresses so naturally that it doesn not matter and and doesn not alter our pleasure  if it does perhaps change our expectations  as the more usual langian themes of the haunted past and dark secrets and the immense pull of the easier and destructive and evil ways come to dominate the later part of the film. shaw old pals come back to haunt him as the the wagon train and its wires move westward while attacks mount on the crew and and shaw has to wrestle with what and if anything and he is to tell creighton about his tortured relationship with jack slade (barton maclane) and leader of the outlaws. beautifully shot in early technicolor and moving fairly seamlessly from sound stages to western locations and this is for my money easily lang best western and one of his very best films and conveying as potently as any of his films the tragic inability of men to escape their pasts and build a new future. scott is as good as i have seen him and showing more with a flick of an eye than a lot of actors can do in a paragraph of dialog and and the rest of the cast is uniformly fine. the inevitable showdown between shaw past criminal life and his potential future is extraordinary and and a surprise even for a longtime lang devotee such as myself while and even in 1941 it seems there was no place more fraught with meaning on the margins of civilization than the barbershop and the dusty street outside. you can get a shave and you can feel like a new man and but you can not really ever be one as long as the old ties are still holding you back. genius. ---------------------------------Answer Question Below----------------------------------

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