"THE WAY WEST" (1967) Review

 

"THE WAY WEST" (1967) Review

Years ago, I had watched a 1952 movie called "THE BIG SKY". The movie was an adaptation of a novel written by A.B. Guthrie Jr. I eventually learned that Guthrie had used some of the characters featured in "THE BIG SKY" and created a series of novels set between 1830 and the 1880s. One of them was the 1949 Pulitzer Prize winning novel, "The Way West".

Eighteen years after the 1949 novel's release, Harold Hecht produced an film adaptation of it. Directed by Andrew V. McLaglen, "THE WAY WEST" told the story about an Oregon-bound wagon train being led west by a former U.S. senator. Throughout the journey, the wagon train emigrants endure weather, accidents, encounters with Native Americans and the usual personal dramas that beset a group of people forced to live with one another over a long period of time. Many film critics have dismissed "THE WAY WEST" over the years, comparing it unfavorably to the 1962 movie, "HOW THE WEST WAS WON". I never understood this comparison. The 1962 film was about the history of one family during most of the 19th century West. Out of the film's five segments - two had focused on members of the family emigrating to the West. "THE WAY WEST" told the story of the members of one Oregon-bound wagon train in the year 1843.

Before one starts speculating over how a film with a 122 minutes running time could tell the story about all members of a wagon train. It cannot. Guthrie's novel, along with Ben Maddow and Mitch Lindemann's screenplay focused on a group of people:

*William Tadock - former U.S. senator and captain of the "Liberty Wagon Train"
*Lije Evans - restless Missouri farmer who decides to move his family to the Oregon Territory at the last moment
*Rebecca Evans - Lije's pragmatic wife
*Brownie Evans - Lije and Rebecca's shy son
*Dick Summers - widowed mountain man and guide for the wagon train
*Mr. McBee - Georgia-born farmer hoping to start a peach farm
*Mrs. McBee - wife of Mr. McBee
*Mercy McBee - flirtatious only child of the McBees and the object of Brownie's desire
*John "Johnnie" Mack - recently married emigrant and object of Mercy's desire
*Amanda Mack - Johnnie's sexually frigid bride

There are aspects of "THE WAY WEST" that I found unappealing. One of those aspects proved to be Bronislau Kaper's score for the film. I found it bombastic, awkward and unmemorable. Enough said. I was also not that impressed by some of the performances found in the film - especially from some of the supporting cast and one of the major leads. And like many other historical or period dramas, "THE WAY WEST" suffered from a few historical inaccuracies. Wagon trains were usually pulled by either oxen or mules. The stock used to convey the "Liberty Wagon Train" from Missouri to Oregon proved to be a hodge podge of horses, mules and oxen. I realize that "THE WAY WEST" is basically a Western about overland travel, but I found the costumes designed by Norma Koch very disappointing. The costumes looked as if they came straight from a warehouse. None of the women wore any layers of petticoats or corsets. And Koch's costume designs for the McBee family proved to be a real head scratcher. I got the feeling she was trying to convey the family's background as Georgia dirt farmers barely able to afford the journey to Oregon. Their clothes looked threadbare in compare to their fellow emigrants. And it is a miracle that the McBees did not finish their journey nearly naked. If the McBees were able to afford the journey to Oregon, they could afford to wear better quality clothing than what they wore.

The biggest historical head scratcher occurred midway into the film. During a social gathering between the emigrants and a group of Sioux warriors, one of the emigrants mistook the Sioux leader's son for a wolf. The emigrant killed the boy and failed to inform the others of the incident. This led the Sioux to later track down the wagon party and demand the killer face justice. Initially, the wagon emigrants refused to comply until they discovered that a very large party of warriors had accompanied the Sioux leader. I am sorry, but I found this scenario improbable. The only times I could recall that many Native Americans gathering at one spot in the history of the American West was at the council for the 1851 Treaty of Fort Laramie and the Battle of Little Bighorn. And considering that the Cheyenne nation were spread out from present-day southern North Dakota and Wyoming to northern Colorado, I found this encounter between the Tadlock wagon party and the Sioux historically improbable.

Despite its flaws, I actually enjoyed "THE WAY WEST". Very much. I can see why the original novel won a Pulitzer Prize for Fiction in the first place. First of all, I enjoyed how the movie opened with a montage of westbound emigrants arriving and organizing in Independence to the movie's The plot struck me as a solid psychological drama about how a group of strangers struggled to tolerate each other, while traveling long distance during a period between four to five months in a wagon train. Knowing myself, I would probably go crazy dealing with strangers who irritated me after more than two weeks. Perhaps less. And having to deal with a ruthless and controlling personality like former U.S. Senator William Tadlock? Good Lord!

In fact, I find it interesting how the megalomaniacal Tadlock seemed to have an impact on the other major subplots in this film, one way or the other. He and the easy-going farmer Lije Evans managed to consistently clash with each other from the beginning. Evans resents his controlling style of leadership, but seemed reluctant to replace him. The former senator's attraction toward Lije's wife Rebecca did not help matters. In onescene, Tadlock had offered himself as a potential wife to Rebecca . . . in case Lije failed to survive the journey to Oregon. I could not decide whether to be surprised or disgusted by his suggestion. Tadlock even had an impact on the Brownie Evans-Mercy McBee romantic quagmire with John and Amanda Mack.

And yet . . . despite being such a megalomaniacal personality, I must admit that I found some of Tadlock's decisions. For example, Lije Evans and the other wagon party members wanted to fight the Sioux, instead of giving in to the latter's demand for the Sioux boy's killer. I suspect that a combination of racism and braggadocio led the emigrants believe it would be better to fight the Sioux than submit one of their own to justice. Tadlock, to his credit, realized it would be wiser to give in to the Sioux's demand. I also found myself agreeing with his order that the emigrants ditch all non-essential possession in order to lighten the load for the stock that pulled their wagons. Unfortunately, Tadlock's anger at Evans' stubborn refusal to give up Mrs. Evans' floor clock spun out of control and cost him his position as the wagon train's leader. I would expand more about the human drama found in "THE WAY WEST". But to do so would give away the plot.

Although I had a problem with the film's music and costume designs, I certainly had none with its cinematography. "THE WAY WEST" was shot on location in Arizona and Oregon. And I found William H. Clothier's cinematography outstanding, thanks to its sharp and colorful photography shown in the images below:





Another aspect of "THE WAY WEST" that impressed me, proved to be the sequence for its opening credits. This sequence was basically a montage of emigrants arriving in Independence, Missouri or forming wagon trains for the westbound journey. Despite Bronislau Kaper's forgettable score and equally forgettable theme song, I thought the sequence permeated with atmosphere and strong sense of how Independence must have been during that period in history. The sequence's strong atmosphere benefited from Andrew V. McLeglen's skillful direction, Otho Lovering's editing and Robert Priestley's set direction.

For me, the performances in "THE WAY WEST" proved to be a mixed affair. A good number of the supporting performers gave some hammy performances. Most of them portrayed minor characters. But the two hammy performances that seemed to stand out belonged to Richard Widmark as Lije Evans and Jack Elam as Preacher Weatherby. Widmark seemed as if he was trying too hard to convey Evans' good-natured personality . . . to the point that his performance seemed forced. I did not enjoy admitting that. Mind you, Widmark had some good moments, especially in those scenes in which Lije clashed with Tadlock. Otherwise . . . I found him just a tad over-the-top for my tastes. Elam portrayed a minister named Preacher Weatherby, who had sneaked aboard one of the wagons in an effort to join the wagon train. Not only did I find his portrayal of the "hell and brimstone" minister over-the-top, but also one-dimensional. On the other hand, there was one performance that seemed to go in the complete opposite direction. I am referring to Michael Witney, who portrayed John "Johnnie" Mack, one half of the newlywed couple and the object of Mercy McBee's desire. Witney may have avoided giving a hammy performance, but he ended up being rather wooden - at least in my eyes. Watching his performance, I found myself wondering how his character managed to generate so much emotion from both Mercy McBee and his wife, Amanda.

Thankfully, "THE WAY WEST" had its share of good and excellent performances. Ironically, two of them came from Harry Carey Jr. and Connie Sawyer. Yes, I will admit they gave hammy performances as Mr. and Mrs. McBee. But their hamminess struck me as so entertaining that I could not dismiss the performances. It seemed as if both really enjoyed themselves. "THE WAY WEST" also featured solid performances from the likes of Patric Knowles, Stubby Kaye, Katherine Justice and Eve McVeagh.

But there were also exceptional performances in "THE WAY WEST". One came from the likes of Lola Albright, who gave a competent performances as Rebecca Evans, a woman torn between her love for Lije. I thought Michael McGreevey, who gave a very skillful performance as the Evans' shy and lovesick son, Brownie. Sally Field revealed signs of future stardom with a great performance as the ebullient, sexual and painfully naive Mercy McBee. Robert Mitchum seemed to be the film's backbone, thanks to his portrayal of the wagon train's warm, yet pragmatic scout Dick Summers. I especially enjoyed his scenes with McGreevey. But if I had to give the award for the film's best performance, it would go to Kirk Douglas for his superb portrayal of the very complex and magnetic former Senator William Tadlock. Douglas' performance struck me as so exceptionally complex that there were times I found myself wondering whether or not I should like him or not.

What else can I say about "THE WAY WEST"? Well, the movie had its flaws. I cannot deny it. But I feel that its virtues definitely outweighed its flaws. And I think that it does not deserve the lukewarm opinions it has received over the years. Thanks to screenwriters Ben Maddow and Mitch Lindemann; a first-rate cast led by Kirk Douglas, Richard Widmark and Robert Mitchum; and excellent direction from Andrew V. McLaglen; I believe "THE WAY WEST" is a lot better than it is reputed to be.

"THE WAY WEST" (1967) Photo Gallery

 

Below are images from "THE WAY WEST", the 1967 adaptation of A. B. Guthrie, Jr's 1949 novel. Directed by Andrew V. McLaglen, the movie starred Kirk Douglas, Robert Mitchum and Richard Widmark:

"THE WAY WEST" (1967) Photo Gallery

Favorite Pre-Gilded Age American History Books

 

Below is a list of my favorite books that covered the history of the United States from the late British Colonial period to the end of the U.S. Civil War:



FAVORITE PRE-GILDED AGE AMERICAN HISTORY BOOKS



1. "The Half Has Never Been Told: Slavery and the Making of American Capitalism" (2014) by Edward E. Baptist - This book centers on how slavery and the cotton industry helped develop the rise of U.S. capitalism.





2. "1861: The Civil War Awakening" (2011) by Adam Goodheart - This book depicts the last months of the United States' Antebellum period and the first months of the U.S. Civil War.





3. "1858: Abraham Lincoln, Jefferson Davis, Robert E. Lee, Ulysses S. Grant and the War They Failed to See" (2008) by Bruce Chadwick - The book focuses on the historical events in the United States during the year, 1858.





4. "Thomas Jefferson & Sally Hemings: An American Controversy" (1997) by Annette Gordon-Reed - This book won the Pulitzer Prize for its in-depth exploration of President Thomas Jefferson and one of slaves, Sally Hemings.





5. "The Town That Started the Civil War" (1990) by Nat Brandt - This book is an in-depth study of Oberlin, Ohio during the 19th century and its role in one of the most famous slave rescues in U.S. history.





6. "Slavery and the Making of America" (2004) by James Oliver Horton and Lois E. Horton - This book is a detailed account of the history of slavery in the U.S. from the Colonial period to the end of the Civil War.





7. "The World Rushed In: The California Gold Rush Experience" (1981) by J.S. Holliday - This book is an in-depth study of the California Gold Rush between 1848 and 1855.





8. "The War Before the War: Fugitive Slaves and the Struggle for America's Soul from the Revolution to the Civil War" (2018) by Andrew Delbanco - This book focuses on slavery and especially the abolition movement from the Revolutionary War to the Civil War.





9. "John Adams" (2001) by David McCullough - This book is a biography of President John Adams and won a Pulitzer Prize.





10. "Gateway to Freedom: The Hidden History of the Underground Railroad" (2015) by Eric Foner - This book is a detailed account on the history of the Underground Railroad and the abolition movement in New York City.





11. "Team of Rivals: The Political Genius of Abraham Lincoln" (2005) by Doris Kearns Goodwin - This biography is about the life of President Abraham Lincoln and the more prominent members of his Cabinet before and during the Civil War. It won both the Lincoln Prize and the inaugural Book Prize for American History of the New-York Historical Society.





12. "A Southern Odyssey: Travelers in the Antebellum North" (1976) by John Hope Franklin - This book is an account of the experiences of Southern travelers in the Northern states during the years before the Civil War.

"Dear Billy II" [G] - 1/1

 

"DEAR BILLY II"

RATING: [G]
SUMMARY: A view of Charles Main's life as an Army officer on the Texas frontier during the summer of 1858, via a letter written to his best friend and fellow officer, Billy Hazard.
FEEDBACK: Be my guest. But please, be kind.
DISCLAIMER: Charles Main, Billy Hazard, Orry Main, Elkhannah Bent and all other characters related to the "NORTH AND SOUTH Trilogy" belong to John Jakes, Wolper Productions, and Warner Brothers Television.

AUTHOR'S NOTE: This story is a continuation of Charles Main’s experiences in Texas, first started in the story, "Dear Orry", and continued with "Dear Billy" and "Dear Orry II". The story is a combination of canon from the trilogies of both John Jakes’ novels and the television adaptations.

------------

"DEAR BILLY II"

August 16, 1858
Camp Cooper, TX

Dear Billy,

I had received your letter, written last March, along with two letters from Cousin Orry. Did you ever receive any letters from Cousin Brett recently? I realize that Orry remains reluctant to give you permission to ask for her hand in marriage. But don't lose hope. As long as you remain faithful in your intentions, he may soon realize that you are more than capable of taking care of Brett during these troubled times.

Speaking of troubled times, I hear that the country's political tensions have become tenfold, due to the upcoming elections in Congress. I . . . I'm sorry Billy, but I just can't keep this to myself any longer. Do you recall my writing to you about my new company commander? Captain Elkhannah Bent? That was over a year ago. I noticed in your last letter that your brother George had not mentioned him. Have you written to him about Captain Bent? I had written to Orry, asking if he knew the man at West Point or in Mexico. You see . . . I believe I have made a serious enemy and I don't understand why.  In my last letter to Orry, I had informed him that Captain Bent had ordered me to lead a detachment to rescue passengers from a wrecked stagecoach during a winter storm. That was child's play in compared to what recently happened between me and the Captain.

Two days ago, a farmer had arrived at the post to inform us that a local farmer named Lantzman and his family were beseiged by a band of Penateka Commanches near Phantom Hill. For once, Captain Bent had decided to lead a detachment that included myself, our first officer Lieutenant O'Dell, our Indian tracker and 20 troopers. I suspect he wanted to appear competent in the eyes of the commandant after being criticized for sending me out into that storm last winter. Upon our arrival at the Lantzmans' farm, we discovered that more Commanches had joined the siege around the house, leaving our detachment outnumbered 2 to 1. For a brief second, I wondered if Bent wanted to turn around and leave the Lantzmans to their fate. Only a second. I had suggested we dismount before we approach the house through the cornfield. However, Captain Bent insisted upon sticking to Army regulations. We rode through the cornfield and successfully reached the Lantzmans' homestead. Poor Mr. Lantzman had died from his wounds. And since we had remained mounted, our detachment lost four men, including Lafe O'Dell. This left me as the company's new first officer.

Billy, I hope that no one within the Army command will read or hear what I am about to reveal. Once our detachment ended up trapped inside the house with the Lantzmans, I realized that we needed to make our escape as soon as possible. However . . . Captain Bent expressed reluctance to leave, especially after we discovered that the Commanches had killed the two troopers he had sent to inform Camp Cooper of our situation. I am not accusing the Captain of cowardice. After all, the man was a veteran of the war in Mexico. But I suspect that for a brief moment, our situation nearly overwhelmed him. I was forced to assume temporary command and ordered the detachment and the Lantzmans to get the hell out. I can imagine your reaction to what I had just revealed. However, I had no choice. With the messengers dead and twice the number of Commanches encircling us, there is no way in hell we would have survived if we had remained inside that house. We finally made our escape, galloping through the cornfield. A Commanche warrior managed to wound my shoulder and I would have been left behind if a trooper named Tannen had not come back for me.

The Commanches chased us for at least an hour before we finally managed to evade them. Captain Bent complimented for getting the men and the Lantzmans away from the Commanches. He also informed me that he planned to charge me with disobeying his orders to remain at the farmhouse. Needless to say, I found myself in a fix.

Billy, you would be surprised to learn what saved me and my Army career. Our detachment and the Lantzmans stopped for a rest after finally evading the Commanches. During that period, the Captain . . . how can I put this on paper? Captain Bent became attracted to young Martha Lantzman. She is 12 years old. Worse, the Captain tried to make his feelings known to her. Who knows what would have happened if I had not appeared? He had already had his hands on her. Mrs. Lantzman and her sons threatened to charge Bent with attempted sexual assault. I convinced them to allow the matter to pass, considering no harm came to young Martha. A part of me feels ashamed of what I did next. Another part felt a sense of satisfaction. The Captain thanked me for saving him from possible criminal charges. I received his thanks . . . and suggested that he drop the charges of disobeying his orders at the Lantzman farm. I also added that if he persists in pressing charges against me, I will summon Mrs. Lantzman to testify on my character and "the characters of others". Needless to say, I will not be facing a court-martial for disobeying the Captain.

Captain Bent, me and Lafe received commendations for the Lantzmans' rescue. Poor Lafe's commendation was posthumous. I have submitted a letter to the Department, suggesting a promotion for Private Tannen for saving my life. Orry would be pleased to learn of my commendation. I must admit that I feel a slight sense of satisfaction. But this satisfaction feels slightly tainted by what had transpired between the Captain and me. Not long after our return, he requested for medical leave in San Antonio. This has left me as the temporary commanding officer of Company K. And this has left me with the task to write letters to the relations of Lafe O'Dell and the other men who had denied. A very unpleasant task.

I realize that I have betrayed my promise to maintain discretion over what happened between Captain Bent, the Lantzmans and myself. However, as my closest friend, I felt you should have a clear understanding on what kind of man you might be dealing with, should you ever find yourself under Captain Bent's command. And never did I imagine I would find myself resorting to blackmail to save my hide, but I do believe Captain Bent did not deserve any restraint on my part. He is not an honorable man. No honor at all. And I am not quite certain if he is truly sane.

Billy, I am certain you will be discreet over what was written in this letter. And be patient with Cousin Orry. I am certain that sooner or later, he will give you permission to propose marriage to Cousin Brett. Take care Billy. I hope to hear from you soon.


Your friend always,


Charles Main

"WHISPERING SMITH" (1948) Review

 

"WHISPERING SMITH" (1948) Review

For years, I had assumed that Alan Ladd starred in only three Westerns - one of them being the acclaimed 1953 movie, "SHANE". Yet, while perusing his filmography, I discovered that he had either starred or co-starred in a good number of "oaters". One of them was the 1948 film, "WHISPERING SMITH".

Based upon Frank H. Spearman's 1906 novel, "WHISPERING SMITH" told the story of a railroad detective named Luke "Whispering" Smith who is assigned to investigate a series of train robberies in late 19th century Wyoming Territory. However, the case becomes personal for Luke when his oldest friend, a local rancher and railroad employee named Murray Sinclair becomes involved with the gang responsible for the robberies.

Superficially, "WHISPERING SMITH" seemed like the typical Western made by Hollywood studios during the studio era. If I have to be honest with myself, Westerns with any real depth seemed rare to me during the so-called "Golden Age of Hollywood" and now. I seriously doubt that any movie critic would regard "WHISPERING SMITH" as something unique. The movie possessed traits one could easily find in mediocre Westerns and a few really good ones:

*Outlaw gang robbing either locals or businesses that dominate the neighborhood

*Corrupt local businessman or rancher leading the outlaws

*Rancher or businessman's main henchman, who happens to be a proficient killer

*Lawman assigned to hunt down outlaws

*Posse chases outlaw around neighborhood/county

Yes, "WHISPERING SMITH" possessed these traits. It also possessed a first-rate dramatic narrative that elevated the movie from the usual Western tropes - namely the love triangle between Luke Smith, his best friend Murray Sinclair and Murray's wife Miriam Sinclair. This triangle was set five years in the past when Miriam, frustrated by Luke's reluctance to propose marriage to her, married Murray. The latter never realized that Luke and Miriam still harbored lingering romantic feelings toward each other . . . until the film's midway point.

Between his resentment toward Luke and Miriam, and being fired by his railroad boss George St. Cloud - whom he disliked - Murray made a choice that proved to be disastrous for his marriage and his friendship with Luke. The developing estrangement between Luke and Murray also proved to be difficult for the former as well. This was especially apparent in the film's second half of the film. Due to his close friendship with Murray; Luke not only struggled and failed to save the other man's job, but also convince the latter to give up his new alliance with the main villain, rancher Barney Rebstock.

"WHISPERING SMITH" not only benefited from this complex narrative regarding the Luke-Miriam-Murray relationship, but also the fine performances from its cast. Once again, Alan Ladd proved he was a better actor than many believed he was in his performance of the leading character, Luke Smith. What made Ladd's performance first-rate his ability to not only convey Luke's contrasting personality traits - soft-spoken, yet friendly demeanor and an intelligent ruthlessness - but also his varying array of emotions with a fluidity that still impress me to this day. Another superb performance came from Robert Preston, who portrayed Luke's best friend Murray Sinclair. Superficially, Murray came off as a one-note personality. But thanks to Preston's performance, Murray proved to a complicated character that transformed from a genial, yet sometimes pushy man to an embittered one, who had allowed his bullheadedness and temper to lead him to a bad choice. Brenda Marshall's portrayal of Miriam Sinclair also struck me as equally impressive. Her Miriam proved to be an emotional and complicated woman, who struggled to repress her lingering feelings for Luke and determined to save Murray and her marriage. Marshall conveyed these aspects of Miriam's emotional state in two excellent scenes. One of them featured her never ending frustration and resentment toward Luke's failure to propose marriage all those years ago. And other featured a quarrel between Miriam and Murray in which she finally convinced him to sell their ranch and move away from the neighborhood . . . and Barney Rebstock's orbit.

There were other performances I enjoyed. One of them came from William Demerest, who gave an emotional, yet satisfying portrayal of Bill Dansing, a railroad employee who had been friends of Luke and Murray for years and served as their father figure. Donald Crisp gave an amusing and entertaining performance as Barney Rebstock, the rancher who hid his criminal and ruthless behavior behind a genial mask. Another came from John Eldredge, whose portrayal of George McCloud, the railroad official who clashed with Murray, struck me as subtle and intelligent. I also enjoyed the solid performances from the likes of Fay Holden, Murray Vye, Ward Wood and Will Wright.

I have to say a word about Ray Rennahan's cinematography. What can I say? I thought it was beautiful looking. Rennahan, who had won an Academy Award for his work in 1939's "GONE WITH THE WIND", also shot "WHISPERING SMITH" in Technicolor. I have seen other films shot in Technicolor that struck me as rather garish. I cannot say the same about "WHISPERING SMITH". I found the photography sharp and colorful, without being garish, as shown in the image below:



Although I found myself impressed by the narrative regarding Luke's relationship with the Sinclairs, I cannot disregard some of the film's action sequences. There were two that really impressed me. One proved to the final sequence that featured the posse chasing Murray, Rebstock and the latter's gang around the countryside following a train robbery. Sure, I thought it was an unoriginal trope to use in a Western. But I thought it was exciting and well shot by director Leslie Fenton. However, I was more impressed by Fenton's work in the sequence that featured Luke's encounter with the Barton boys - members of Rebstock's gang - at a rail junction in the rain. It featured good action, good acting and great editing by Archie Marshek.

As much as I enjoyed "WHISPERING SMITH", there are some aspects of it that I found unappealing. One of them proved to be actor Frank Faylen's portrayal of henchman Whitey DuSang. I realize that Faylen was a first-rate actor. I have seen him in other productions. But . . . I found his portrayal of DuSang rather one-dimensional. Faylen spent most of the film hovering around Donald Crisp with his arms folded and staring at people with squinting eyes. If this was his way of looking intimidating, I did not buy it. I do know whether to blame Faylen, the director Fenton, screenwriters Frank Butler and Karl Kamb or Frank Spearman's portrayal of the character in his novel. Another major problem I had with "WHISPERING SMITH" proved to be Mary Kay Dodson's costume designs for the female characters. Exactly what was this film's setting? Some of Dodson's costumes seemed to indicate the 1880s. And some of her costumes - especially for Brenda Marshall - seemed to indicate the 1890s. Nor did it help that the women's hairstyles seemed to reflect the late 1940s.

Despite my quibbles with Frank Faylen and Mary Kay Dodson's costume designs, I enjoyed "WHISPERING SMITH" very much. Not only does it happen to be one of my favorite films starring Alan Ladd, I actually like it more than his more famous film, "SHANE". I am certain that many would find this sacrilegious. However, thanks to Leslie Fenton's direction, a screenplay that conveyed a complex love triangle and excellent performances from a cast led by Ladd, Robert Preston and Brenda Marshall; I cannot help how I feel.

"WHISPERING SMITH" (1948) Photo Gallery

  

Below are images from "WHISPERING SMITH", the 1948 adaptation of Frank H. Spearman's 1906 novel. Directed by Leslie Fenton, the movie starred Alan Ladd:

"WHISPERING SMITH" (1948) Photo Gallery