The Ox-Bow Incident (1943)

Classic

The majority is not always right - as this classic western makes clear. Peter Fonda does an excellent turn as one of only seven who stand in the minority against a mob determined to exact revenge - even if that means taking revenge on the wrong parties.

Great movie to remind us that might does not make right, and it is good to be in the minority when it comes to standing up for justice. September 1, 2008

The Darkest of "Films Noire"

Wonderfully directed by William Wellman in 1943, this is perhaps the darkest of all "Films Noire." I cannot imagine another film that would be more appropriately filed in black and white. It is one of the most heart-wrenching of all western movies, in that the viewers can clearly see the tragic direction the story inexorably moves in.

As others have synopsized, two drifters (Henry Fonda and Harry Morgan) are caught up in a scenario that mixes cattle rustling, murder, and the exacting of blind "justice." Portraying drifter Gil Carter, Fonda's performance is typical of the masterful, low-key portrayals by the actor, such as in "Twelve Angry Men," where he stands out as the lone voice for true justice. Unfortunately, the ending is much different in "The Oxbow Incident." The story in perhaps the thematic predecessor of Clint Eastwood's "Hang "em High," where an innocent man is hanged by a group of "good citizens" who actually epitomize mob mentality, except once again, the ending is quite different.

The is film blends all of the variables that together constitute virtually a perfect film, where it integrates those described above with the omni-present quest for power, the arrogance that almost always accompanies it, the ignorance that pervades mob mentality, and the over-riding theme that in life, things do not always turn out right.

While the story moves rather quickly, the most meaningful and powerful vignettes slow to a pace that emphasize their impacts. Yes, there is a sense of justice at the climax, where the film's focus of power and arrogance, Major Tetley, is dealt with appropriately. But "the" scene that is not to be missed is the moment where Fonda reads to the lynch mob the farewell letter written to his wife by Dana Andrews' character, Donald Martin.

Seriously, this is one of the most powerful films of its era, and still stands out as one of the best ever. The film reiterates human qualities that cross all generations.

July 19, 2008

Morality play meets Wild West

Have you ever thought you knew what the right thing to do was, but couldn't convince others of your reasoning?

"The Ox-Bow Incident" could be best described as a western disguised as a morality play on mob justice, or vice versa. It definitely is a film which is based on not the traditional western format of "shoot em up" but rather takes a philosophical approach to what mob justice really entails, and what its consequences are.

Two men, Carter (Henry Fonda) and Croft (Harry Morgan), come into town and get themselves entangled with a group going out to find the murderer of a man in the local town. While the two feel reluctant to go out and be a part of this, they are urged on by another man, Davies, to go and make sure that the criminal or criminals will get a fair trial. Because the sheriff is not around, one deputy decides to "deputize" all the posse going out to find the killer, giving them the power to act as a majority. As the posse crosses a patch of area, they spot three men who they believe to be the killers. Rather than being judicial, one of the men, Tetley, becomes the ringleader of mob justice, wanting to hang the men on the spot. From here, the story becomes a dilemma in morals, where those who feel the men deserve a fair trial counter against those who feel that justice is "slow and careless." Carter emerges as one of the voices for the three men, who he feels deserve some form of fair justice.

As one reviewer alluded to, this is not a film that wastes words or time. Each scene of the film is concise and important to the eventual outcome of the story. Henry Fonda is a great leading character in the film, despite not getting as much of a role as one would assume. However, after the highest point of the film, and especially during the film's final fifteen minutes, Fonda's role really shines.

This is a unique look at the idea of mob justice played out on a Western scene. As far as the extras, what I really liked was the biography of Henry Fonda as Hollywood's Quiet Hero, detailing his many roles on screen and off screen. It really shows the talent of this actor, and the integrity he brought to his many roles in such films as The Grapes of Wrath (where he plays Tom Joad) and Twelve Angry Men (where he plays the man who has to convince eleven other jurors of a man's innocence).

Over all, this is a wonderful, profound film, with "no fat" extras.
July 15, 2008

Great Classic Western

OX BOW INCIDENT is an excellent western of the early 40's, which is an account of what happens when men decide to press for 'justice', discounting the law. This classic has underlining themes about false valor, mob mentality, pride, and ultimately redemption. Henry Fonda's and Dana Andrews' characters emerge the true hero. This is a must have among classic westerns. April 15, 2008

Not your usual Western, but it is all about suspense, not action.

Ask yourself: what is justice?

Henry Fonda and William Wellman team up to make what I would consider to be one of the greatest movies ever made, if not one of the greatest Westerns ever made. There is only one word that can define this movie - excellent. The basic story is that Gil Carter (Fonda) and his partner Art Croft (Harry Morgan) ride into a dusty Nevada town. Take note of what happens when they arrive - a dog crosses the street from left to right. This small occurrence will be more interesting later in the film. Word is brought to town that a wealthy rancher has been murdered, and his cattle have been rustled off his land. Apparently, this man was well liked among the townpeople, and they are determined to see that justice is done. This is the point where the audience becomes suspicous as to whether or not the right thing will be done. What makes the audience suspicous are the attitudes of the people, especially the gestures of one. He repeatedly takes a rope to his own neck, pulls on it above his head, and makes a gagging noise. At first, Carter and Croft are unsure as to exactly what is going to happen. The answer is simple - a hanging. However, what is right and what is wrong are two different things. These people are obviously very ignorant as to what actual justice is. They do not care about justice. If they do find the men, they will hang them. This will make them no better than the real culprits. But you cannot have a hanging without a hanging party. People in this hanging party are Major Tetley, who is a stubborn Confederate, a deputy who has promoted himself to sheriff and handed out badges even though he is not permitted to do that, and a cackling old woman played by the great character actress Jane Darwell, who, only three years before, had co-starred alongside Fonda in "THE GRAPES OF WRATH". The judge of this town, summoned from his house by Carter, is not exactly willing to protest and see that justice is done, for the simple reason that is not his job. (When Carter goes to the judge's house, watch for Margaret Hamilton, from "THE WIZARD OF OZ", as Mrs. Larch.) In the end, the lynch party disregards all advice from the judge and others that are against the hanging, and they leave town. Carter and Croft go along only to do what they can to stop the hanging. What is shocking here is that they leave to hang some rustlers and murderers, but they do not have the slightest idea as to who they are! When they do come upon who they think are the ones that did it, there are three of them. Three of the most unlikely people to be rustlers or murderers. These three are a young man, an old man, and a Mexican. Of course, they are innocent, and do not know anything about what has happened, but the cards are unfortunately stacked against them. The young man, whose name is Donald Martin, writes a letter of farewell to his wife and children. The old man is greatly afraid. The Mexican attempts to run away, but is caught and wounded. These acts of the three display how they actually feel. Martin is scared, not for himself, but for who he will have to leave behind. His feelings basically are that he has tried to show that he is innocent, but he has no proof. He will take it as it comes. The old one is so scared that he cannot even think straight. He obviously has no one he wants to write to. He is only scared for himself. The Mexican does not want to die, but there is no hope for him or his companions. It is asked to the group if there is anybody that does not approve. Their are only seven that "cross over the line". Among these seven are Carter, Croft, and more importantly, the son of Tetley. He is determined to go against the iron will of his father, even though he believes himself a coward. At dawn, the supposed murderers are hanged from a nearby tree. The camera again shows the feelings of the three on their way to their death. As they are put up on their horses, Martin says his wife's name over and over, the old man repeatedly says that he does not want to die, and the Mexican prays. This is all due to the wonderful cinematography. As the party rides out, they are stopped by the sheriff. He tells them that they were wrong. Those three were innocent, the rancher is not dead, and the cattle have not been stolen. He asks if anybody is there that had no part in it. The reply is "only seven". Once the party returns to town, everybody shows their feelings over their own ignorance. Carter reads the letter that Martin wrote. It shows that Martin was the farthest from a murderer or a rustler. Meanwhile, up the street at the wealthy Tetley house, the Major goes into the house, but locks his son out. The boy yells through the door all that he has been feeling. How much of a coward he is, how much of a cruel man his father is, and that yes, he was willing to stand up to his father! The Major then commits suicide, but the audience only hears a gunshot. Tetley obviously could not stand the anguish within himself, the stupidity, the disbelief. The next, and final scene is of Carter and Croft riding out of town, with the very same dog from earlier in the film crossing the road, but from right to left. It was as if this dog was sealing their fate. It is surprising that no other reviewer had caught this subtle occurrence. It is very possible that the filmakers did not mean for a scene of a dog crossing the street to mean anything, not to mention powerful. But that is what I personally view it as - a great last scene.


SPECIAL FEATURES
Theatrical Trailer
A&E Biography: "Henry Fonda - Hollywood's Quiet Hero"
Stills Gallery


THIS REVIEW IS DEDICATED TO ANYONE, LIVING OR DEAD, INVOLVED IN THE MAKING OF "THE OX-BOW INCIDENT".




Also Recommended: The Grapes of Wrath (1940), Three Godfathers (1948), Fort Apache (1948), My Darling Clementine (1946), The Longest Day (1962), Jesse James (1939), The Return of Frank James (1940)
April 8, 2008

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