Buy The Law and Jake Wade
February 7th, 2010 by matilda6314084
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John Sturges’ name is not spoken nearly enough when the spacious film directors are being listed. You would mediate that after directing The Stunning Seven, The Tall Speed, and The Conventional Man and the Sea that he would be revered and recognized, but that is not the case.
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Sturges was at his best making Westerns, and The Law and Jake Wade was a mountainous one. It was the last sizable movie Robert Taylor made, and one of the best that Richard Widmark ever made.
Taylor plays Jake Wade, a lawman who breaks Richard Widmark out of jail. They conventional to poke together as outlaws, and Widmark’s character saved Taylor’s life, so he feels indebted to Widmark. All Widmark cares about is the stolen loot hidden from their last large heist, and he forces Taylor to catch him to its space.
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Tense, suspenseful, and well-acted, The Law and Jake Wade is a must-see Western.
‘The Law And Jake Wade’ came out in the same year as Anthony Mann’s last Western, ‘Man Of The West’, with which it shares many sage, thematic and visual affinities. Both centre on ex-outlaws who have tried to turn away from a life of crime, but who are violently dragged help by companions from the past; the struggle in both is intensified by the presence of a woman as hostage/prize. Both feature aging Hollywood stars at or advance the kill of thir careers, and both climax in the heavily symbolic arena of a ghost town. The dissimilarity in quality between both films can be seen in the contrasting stature of their stars - Gary Cooper was one of the astronomical icons of the Western, and a potent projection of America’s self-image - his face scarred with age, and body wracked with cancer added to the phantom surroundings to build a gracious, austere, end-of-the-genre atmosphere. Robert Taylor, a matinee idol, brings no such baggage with him - void of iconic presence and resonance, ‘Law’ seems comparatively shallow.
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The film is unexcited terrific entertainment, particularly in its second half, with the tensions within dreadful guy Richard Widmark’s crew threatening violence; a fierce Indian raid, with the best-ever consume of arrows in a Western, seeming to swoop down from a tremendous distance at the viewer; and the long, mythical shoot-out. The film’s characters and themes beget predictably - Taylor, who wants to rejoin civilisation by working as a lawman and marrying the daughter of a rich capitalist, must exorcise his violent, blood-stained past - and there are the usual homoerotic and Oedipal complications. There are tantalizing inflections - the crew’s criminal activities are seen as extensions of their ‘legal’ duties as soldiers during the Civil War; while Taylor is one of the genre’s more dim-witted heroes, a idea dodge a pursuer by taking convoluted by-ways is foiled by the fact that he has given the pursuer his horse - all Widmark has to do is let him go and follow him!; the mountainous ritual of (accurate) rebirth is cynically dwelling in a ghost town’s cemetary.
What is most intriguing about the film is its visuals. Sturges may lack the suitable sparkling rigour of a Mann or Boetticher, both of whom he imitates, but there is a compositional care in ‘Law’ absent from his more distinguished blockbusters. The widescreen patterning of characters against the landscape contributes to the film’s meaning, and often works against the script; the central interior scene, as kidnappers and abductees wait for a Commanche attack, is like a very skip of civilisation. Although the relation between individual and landscape is not telegraphed, there are three bright Boetticher-like shots when the camera tracking Taylor slowly descends, levelling the ground and revealing the impassively monumental mountains unhurried him, exposing both his lack of solidity and a natural world indifferent to his fate. There is hardly a shot of a character that is not in some blueprint framed by its environment; the disorienting mix of breathtaking area shots and deliberate backdrops furthers the theme.
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