A tired gunfighter Shane (Alan Ladd) arrives on a farm and decides to settle down with a small family (Van Heflin and Jean Arthur). He quickly becomes embroiled in the conflict between the husband and a vindictive cattle rancher Rufus Ryker (Emile Meyer). The story follows a predictable trajectory, Shane attempts to avoid the conflict but is forced to protect himself and the settlers as Ryker's crew steps up their attacks. The whole situation leads to violence, which in turn means Shane must move on. There's no surprise in the plot. What is strange is that Shane himself seems resigned to the unfurling of the plot, as if he knows what is coming. He seems like he's cursed with the situation as if this happens everywhere he goes. This sense of predestined conflict hangs over the whole story.

Director George Stevens makes this a strange film in many respects. The way the tale is told is simplistic but carries a deeper message of sacrifice. Shane is clearly a Christ figure, one of the most striking ones put to film. His dealing with evil on behalf of the settlers has an epic feel to it despite of it's small scale. The hero himself is atypical. Roger Ebert points out that he looks a "tad precious" and he is right. Alan Ladd is a leading man, but one made for romatic leads, not brawling. His casting is an inspired choice. Ladd's slight frame combined with his character's casual bravery shows the character's inner strength, a will that the snarling villains do not retain. Another element that is striking about this film is how it's filmed. The rich colors and picturesque sets looks like a dream, a memory of the child Joey, son of the farmers who idolizes the gunfighter. The dreamy vibe of the film gives it a unique flavor that makes it stand out against all other Westerns.

This is a simple film but it is also a great one. The surprising lack of gunplay considering the whole movie openly promises to lead up to a violent conclusion. Stevens wisely avoids making a spectacle of the violence and treats it with a respectful tone not normally seen in Westerns. He also relies heavy on the tension between characters to drive his story. While his story is very simple, his execution is layered and complicated. He shows brilliantly that clever plot twists don't make a great film, strong storytelling does.


Related Reviews:
Westerns
The Tin Star (1957)
The Shootist (1976)


Other Critic's Reviews:
Decent Films Guide
Roger Ebert

Labels: Alan Ladd, film, Jack Palance, Jean Arthur, movie review, Van Heflin, western