OK, time for a new series. Over the coming weeks I’m going to be covering the westerns of Errol Flynn. He made a total of eight oaters between 1939 and 1950, and I’ll be looking at each in turn. Flynn may not have been the most natural choice as a western hero but he managed to adapt to the genre reasonably successfully. While some of these films are undeniable classics, others are more mediocre. However, they all remain entertaining and this is due, in no small part, to the presence of Flynn. His first venture into the west was Dodge City (1939), when he was still at the top of his game, and his name was box-office gold. This, of course, was the year when the western was making its comeback as an entertainment for adults. It seemed like every big Hollywood star was heading for the frontier, and so it’s only natural that Flynn should follow suit.
The film begins in the expansionist, nation-building years that came after the Civil War. Wade Hatton (Flynn) has been earning a living as a buffalo hunter in the employ of the railroad. The opening scenes highlight the unstoppable drive towards progress as the new steam locomotive races, and beats, the overland stage into Kansas. When the iron horse pounds its way into the fledgling Dodge City it signals a new and dangerous future. The railhead will allow Dodge to grow into a major hub for the shipment of cattle. However, the boundaries of civilisation will always be home to those who hope to make a quick profit and take advantage of the fact that the law invariably trails along as a distant second in the wake of a sprinting capitalism. So, while Dodge City becomes a thriving commercial centre, it also gains the reputation of being an anarchic, ungovernable place. The lawless element of the town is represented by Jeff Surrett (Bruce Cabot) and his hired gun Yancey (Victor Jory). These men have all the illegal activities sewn up and have no hesitation in removing anybody who threatens their interests. Although Hatton and Surrett clash early on, it’s not until the rampant disregard for the law causes the death of a child that matters come to a head. Hatton accepts the position of sheriff and is set on a collision course with Surrett. Along the way, the hero finds the time to romance Abbie Irving (Olivia De Havilland), although it’s a relationship that gets off to a bad start when her wastrel brother dies in an accident after fighting with Hatton.
Dodge City is a movie where the action never lets up and it moves along at such a brisk pace that it rewards repeat viewings. So many of the themes and elements that would later become staples of the western genre are given their first exposure here. The massive and memorable bar room brawl that forms the centrepiece of the picture is the template for just about every cowboy scrap that followed. Director Michael Curtiz handles this sequence masterfully, the scale of the fight is always obvious and it’s so well choreographed that the viewer is never left feeling confused or lost. In fact, it’s almost an object lesson in how to film a big action set-piece with excitement and still retain clarity. Curtiz was nothing if not versatile, and was at home with pretty much every setting and style of film making. Throughout Dodge City he manages to move effortlessly from comedy to drama, to action, and on to romance, without once missing a beat – a model of smooth, professional direction.
One of the biggest obstacles for Errol Flynn when he started playing western roles was the fact that he didn’t sound like cowboy. However, Hollywood was always clever at circumventing such inconveniences, and the writers got around the issue by providing a backstory for Hatton’s character and making him an Irish adventurer who’d travelled extensively. Anyway, as I said, the story moves along at such a lick that minor inconsistencies are soon forgotten as you get drawn into the plot. Flynn manages reasonably well and the man’s natural charm helps a lot. Olivia de Havilland was certainly the finest leading lady Flynn ever had, and the films they made together were always worth watching for their on-screen chemistry. I couldn’t honestly fault any of the performances in Dodge City; Cabot and Jory make a fine pair of villains, and there’s the inevitable comic relief from Alan Hale, Guinn ‘Big Boy’ Williams, and Frank McHugh. One of the nice things about the movie is the way more serious points manage to get slipped in amid the humour. For example, Hale and Williams’ clowning around and bemoaning of the fact that Hatton’s brand of law and order is turning Dodge into a genteel, sissy town, and their consequent need to push on deeper into the west, makes the point about the feminine nature of civilization as eloquently as many a more serious and heavy-handed film.
The R1 DVD (and I guess also the R2) of Dodge City from Warners is generally a pleasing transfer, but it’s not without its problems. There’s no damage to speak of, but there are technicolor registration issues which cause a blurry image with some fringing from time to time. Having said that, the problem is not one that should spoil anyone’s enjoyment of the film. There are a number of extras including Warners Night at the Movies and a short featurette on the film. All told, Dodge City may not be Errol Flynn’s finest western performance but it is still a fine western. Next up – Virginia City.
5 thoughts on “Dodge City”
Well said my good man. Your comments are spot again. Curtiz is great, as you point out, at mixing all the diff elements, together and delivering a highly entertaining final product.
You know, I feel Curtiz has never been given his proper due, something which could also be said for a number of other studio directors of that era. I feel he’s one of those guys who, mainly as a result of the years he was active, just missed out on being seen as an auteur.
This one is worth watching just for the bar-room brawl! I like all of Flynn’s dusters, the great and the not so great ones are all worth a look imo. Nice job as always, Colin.
The brawl is indeed spectacular and justifiably famous. But the whole film is enjoyable really.
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