Treading well worn paths is a practice that tends to be looked on with a certain disdain with regard to any artistic endeavor, and with good reason. If familiarity does not necessarily have breed contempt, it can surely sap the enthusiasm and interest of the viewer. While that may be broadly true, it should also be acknowledged that watching movies is not an activity we indulge in for only one reason. As a rule, the better the film, the greater the challenge or stimulation offered, but that is not to say that work providing the comfort and reassurance of the familiar has no worth. The Man from Bitter Ridge (1955) breaks no new ground, the situations and characters are all recognizable “types” that even casual western watchers will have seen on countless occasions. For all that though, it is the kind of movie that is hard to actively dislike.
The story begins with something of a bang, namely the explosion that brings down a tree and blocks the trail of a stagecoach. The purpose is to facilitate a robbery, one carried out with precision and ruthlessness. A man ends up dead for noticing more than he ought to and the thieves make their escape. Perhaps it would be more accurate to say all but one of the thieves. A passing stranger suffers the misfortune of being held up by one of the fugitives who finds himself in need of a mount as his own horse has gone lame. This stranger is Jeff Carr (Lex Barker) and his ill-starred encounter means he almost winds up being lynched in error. All of this happens in the first five minutes or so and a lot of plot detail is packed in here, not least the fact the stage has been robbed by those working for Rance Jackman (John Dehner), local bigwig and candidate for sheriff in the upcoming election. To further complicate matters, the posse members who were so keen on stringing up Carr in a hurry are headed up by Jackman’s younger brother Linc (Warren Stevens). There’s probably enough story right there but the script is arguably overloaded as the idea of a corrupt man seeking ever greater power and influence is mixed in with a simmering feud between cattlemen and sheep herders, the latter group represented by Alec Black (Stephen McNally). Of course no yarn can be truly complete without some love interest, ideally involving conflict. That comes courtesy of a romantic triangle, the points of which are Carr, Black and Holly Kenton (Mara Corday), another of the sheep herders. As such, we have a decidedly tangled skein on our hands, although it is all unraveled (via brawls, gunfights, fire and fury) in a largely satisfactory manner by the time the credits roll about an hour and a quarter later.
Mention the name of Jack Arnold to movie fans and the chances are you’ll hear comments about such Sci-Fi classics such as It Came from Outer Space, The Incredible Shrinking Man or The Creature from the Black Lagoon. Nevertheless, as was the case with most directors of the time, he worked in a range of genres and turned out some fine pictures in all of them. Among his movies are a handful of westerns; Red Sundown and No Name on the Bullet are right out of the top drawer and are highly recommended. The Man from Bitter Ridge is, without question, a lesser effort. I prefer to look at a movie in terms of what it is and what it aims for as opposed to what it isn’t or doesn’t aspire to be. Still, there’s no denying that there’s not much depth to this one. I may be using the wrong label here, but I tend to think of films like this as matinee movies – straightforward, no-frills, unpretentious pictures that tell their stories in a pacy and entertaining way, no more and no less. Taken on those terms, it’s fine and does what it says on the tin. Another bonus is that “look” which is to be found in most Universal-International westerns, the visual aesthetic is appealing and (again) familiar, the very least one might expect from a cinematographer as talented as Russell Metty.
As for the performances, Lex Barker followed up his stint as Tarzan with a number of western roles and he would do further work in the genre when he later moved to Europe, especially in Germany. His role here is of a type – an undercover operative for the stagecoach company – that Randolph Scott played on more than one occasion. Of course Barker had previously been cast opposite Scott a couple of years before in the more interesting Thunder Over the Plains for André De Toth. He cuts a heroic figure and acquits himself just fine in the action scenes, of which there is no shortage, but he’s probably a bit too sunny and upbeat. Stephen McNally is his typically sharp self, assured and polished and enjoying his time as one of the good guys.
Mara Corday is an actress I am always happy to see and she is very appealing as the pistol-packing sheep farmer who finds her affections trapped betwixt and between McNally and Barker . She was in the middle of a run of generally good movies at this point, although I have to say she had a far more absorbing part in Joseph Pevney’s Foxfire that same year. With regard to villainy, it’s difficult to go far wrong when there is a solid lineup composed of John Dehner, Ray Teal, Myron Healey and Warren Stevens available. Their characters are all entirely one-dimensional, but most entertainingly so.
The Man from Bitter Ridge was released on a handsome DVD some time ago by Koch Media in Germany, but I think that may have drifted out of print now and it appears to have been replaced by a Blu-ray from the same company. The older disc looks pretty good, offering a colorful widescreen presentation of this brisk and undemanding western. I know Jack Arnold made better and more original movies and The Man From Bitter Ridge shouldn’t be seen as representative of his work in general, but it is a relaxing and mostly fun watch, and sometimes that’s good enough.