Mon 29 Sep 2014
CHEYENNE. Warner Brothers, 1947. Dennis Morgan, Jane Wyman, Janis Paige, Bruce Bennett, Alan Hale, Arthur Kennedy, John Ridgely, Barton MacLane, Tom Tyler, Bob Steele. Screenwriters: Alan LeMay & Thames Williamson, based on the story “The Wyoming Kid” by Paul I. Wellman. Director: Raoul Walsh.
Cheyenne is a movie with an identity crisis. It’s a Western, but also a mystery. It’s a comedy, but it feels like a would-be musical, especially given the fact that the score by Max Steiner occasionally overwhelms the dialogue and the plot. There are some gritty fight sequences, but also ridiculously light, borderline risqué, romantic moments.
And with a screenplay by Western writer Alan LeMay and direction by Warner Brothers’ go-to guy for action films, Raoul Walsh, you might think you’re in for a psychological Western. But you’d be wrong. Cheyenne is much more typical of a late 1940s Western, one that doesn’t push the envelope very far.
In that sense, the casting of Dennis Morgan and Jane Wyman, talented actors both, as the leads was a perfectly good decision. Plus what’s not to like about Alan Hale as Fred Durkin, a goofy, cowardly Wyoming lawman?
Morgan portrays James Wylie, a gentleman gambler and a cheat. After getting himself into a pickle in Laramie, he’s faced with a choice. Either work for the law or be sent back to Nevada to face justice for some past misdeed. Wylie’s a smart man and quite debonair. He chooses to work for the law, an easy choice. His mission: seek out a mysterious bandit named The Poet who is stealing from the Wells Fargo Stage Line.
Wylie heads from Laramie to Cheyenne, encountering a group of bandits led by a man named Sundance (Arthur Kennedy) along the way. He also makes the acquaintance of a lovely young woman, Ann Kincaid (Wyman) who engages him in a bit of push and pull deception and flirtation.
Theirs is a Western battle of the sexes, one that would be pulled off with much better effect by John Wayne and Angie Dickinson in Howard Hawks’ Rio Bravo (1959). There’s just not that much visible chemistry between these two leads. Morgan just isn’t gritty enough for a Western hero.
Cheyenne does have some mystery, but not all that much. There’s quite a bit of mistaken identities and assumed identities, lies big and small. It doesn’t take all that long, however, to figure out that Wells Fargo employee, Ed Landers (Bruce Bennett) is up to no good or that saloon girl, Emily Carson (Janis Paige) is going to play an important role in the film.
Altogether, it’s a pleasant enough affair. Someone should just have turned down the musical fanfare a bit.