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Back to Basics - The Ox-Bow Incident
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Back to Basics is my effort to remedy the numerous film classics from through out the world that for whatever reason I have always managed to skip, miss or just have escaped my radar.
Often overshadowed by the legendary films of John Ford, William A. Wellman’s 1943 western The Ox-Bow Incident is one of the genres key building blocks. Written by Lamar Trotti, adapted from Walter Van Tilburg Clark’s novel, The Ox-Bow Incident starts just like any other western, especially of the era. In 1885 Nevada, we are introduced to Henry Fonda’s Gil Carter, accompanied by his friend Art Croft (Harry Morgan) entering a bar, surly, new in town and itching to punch anyone who gives them even a slightly nasty look. The two are told the only things to do in town are “eat, sleep, drink, play poker or fight.” The latter quickly occurs before big news interrupts.
Local judge Larry Kinkaid has been robbed of his cattle and then murdered. The town’s men, enthralled by the news, gather together, guns in hand, ready to take the law into their own hands. At this point, early on in the brisk 75 minute running time, Ox-Bow takes a different turn. The movie swerves from a dusty, gunslinging shoot-em-up into a conversation over justice. The town argues whether or not to deputize the growing posse. Are they out to punish the guilty or merely whomever they suspect?
Wellman works on a small budget here, forced to ignore the large sweeping scale of films like Ford’s Stagecoach, shot four years earlier. What Wellman loses in scope he makes up for with intimacy. Fonda’s Gil Carter resembles that of one of his most treasured films,12 Angry Men. Yet again, Fonda is one of the lone voices of descent, unsure if a rush to judgement is the proper procedure. Unlike his famous juror, Fonda’s Gil is far more bitter and as easy to anger as his counterparts. He is slowly turned when talking to Sparks (Leigh Whipper), a black preacher whose own brother was hung for a crime he may not have committed. Sparks eloquently speaks to the proceedings, “It’s man taking on himself the vengeance of the lord.”
The posse eventually finds a trio of men ripe to be their culprits. They are strangers, with Kinkaid’s gun and cattle featuring his branding. The accused, including a charismatic young Anthony Quinn, beg for a trial but their pleas fall on largely deaf ears. Ex-Confederate Major Tetley, a nasty Frank Conroy, still sporting his uniform, is sure that if the suspects get a lawyer, months will go by and they will be found innocent. The final debate occurs over their fate.
All of it expertly told, with discussions over racism and masculinity sprinkled through out Ox-Bow, none of it heavy handed. The only real downside of the film may be for Fonda fanatics. The famous actor, though the lead, is but one of a larger ensemble. Those onlylooking for his unique presence is better off sticking with The Grapes of Wrath, Young Mr. Lincoln or the endlessly rewatchable 12 Angry Men. Just don’t miss catching up The Ox-Bow Incident at some point.
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