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(More customer reviews)The 1959 film "Warlock" is one of those great surprises for movie fans. It's a classic western, undiscovered, awaiting the lucky viewer who happens to stumble across it. After viewing this dark, almost gothic oater, most viewers will ask themselves, "Why haven't I heard of this film?!"
I'm not sure as to why "Warlock" has been relatively ignored over the years, though I think the film is derivative of other films. I think the generic Hollywood backlots where "Warlock" was undoubtedly filmed certainly detract from its overall allure. But simply put, "Warlock" fell through the cracks, and it's a film deserving of reexamination.
Part "High Noon," part "Shane," part "The Searchers," "Warlock" tells the tale of a town victimized by crime. They hire a gunfighter in the form of Henry Fonda, who arrives with a crippled sidekick (Anthony Quinn) in tow. Fonda's character becomes a semi-celebrity, granted carte blanche as he calmly strolls the streets adorned in shining pistols and dark suits. The cantankerous Quinn, lugging around a shotgun, watches Fonda's back while sipping champagne and taking care of the finances.
But the town (named Warlock) is anything but a simple job. A former love of Quinn's (Dorothy Malone) is a resident, and he wants her back. Richard Widmark also resides here, and he's none too happy about the hiring of the gunfighters, sensing the community should stand up for itself. A young woman (Dolores Michaels) also catches Fonda's eye, and for the first time he begins to wonder about settling down. All of these emotional dramas play out, having tragic circumstances.
Director Edward Dmytryk, one of the more underrated filmmakers from this period, has done an excellent job in weaving these multiple storylines together. He also displays an excellent visual flair, most notably during a gunfight between Fonda and Frank Gorshin about midway through the film. I could argue that the scene is one of the great cinematic gunfights in history. Superbly choregraphed, Fonda screams the name "Billy, Billy......!" before drawing his gun and reluctantly killing the man. It is a brilliant, unforgettable moment, precursing many of the operatic gunfights from Sergio Leone's spaghetti westerns 10 years later.
Quinn also gives a memorable supporting performance as Fonda's sidekick. Tortured by his club foot handicap and angry at the world, Quinn is a live keg waiting to explode. He does the dirty work for Fonda, and exposes the hypocrisy of Fonda's dream to settle down and retire from a life of gunfighting. Quinn knows he and Fonda can never be a part of modern civilization. Essentially, they are walking death, perfectly symbolized by Fonda's dark suits - a black spot in the dusty streets, stark and apart.
As Fonda stands amid the ruins of a burned out saloon, he is alone, tall, lanky, a scythe-carrying spector. His past choices have fatefully isolated him from civilization. Like John Wayne's Ethan Edwards at the end of "The Searchers," he can never comfortably walk through the door of domestic civilization. He is destined a life of solitude, forced by fate to step aside and allow the modern world to take root. His job, for all intents and purposes, is finally done.
"Warlock" is a great, undiscovered western. It has brilliant performances, terrific dialogue and unforgettable imagery. It is an unheralded masterpiece.
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Warlock (1959)
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