The permutations of film noir began to play across nightmare scenarios in the urban, criminal, historical and now western styles of story telling,.
In the shadow-draped alleys of 1947, it was not all shadow-draped alleys and the Western too felt the noir influence from time to time. This picture called Ramrod hit the silver screen, helmed by the Hungarian maestro Andre de Toth, and is now considered to be an example of cross-over style, that most amazing of constructs, the film noir western.
Ramrod stars the tough-as-nails Joel McCrea, the sultry Veronica Lake, with Preston Foster and Don DeFore riding shotgun. This gritty cowboy saga was de Toth’s first rodeo with Luke Short’s tales of the wild West, and Luke Short seems to be a name that conjures western noir quite well.
Frederick Dilley Glidden, known by his pen name Luke Short, was born in Kewanee, Illinois, in 1908. His early career involved journalism and trapping for furs in Canada during the Great Depression. However, it was his Western stories that gained him fame.
Joel McCrea and Donald Crisp in Ramrod (1947) |
Living in Santa Fe, Short submitted tales to pulp magazines, and with the help of agent Marguerite Harper, his writing career flourished. By the late 1930s, he had authored fourteen novels and numerous short stories. The 1940s marked the pinnacle of his success. Short signed contracts with paperback publishers, selling over 26 million copies of his works.
One of those novels, the here-discussed Ramrod, became a successful Western movie. Yet, there were allegations of plagiarism related to this book. Another write, Gladwell Richardson, writing under the pseudonym John Winslowe, published a similar story titled Short Trigger Man in 1951.
Meantime cow-people, a ramrod is more than just a rod for ramming down the charge of a muzzle-loading firearm. By extension, it embodies rigidity and straightness. But beyond its literal meaning, the notion of the ramrod holds deeper significance.
In North American cattle country, a ramrod refers to the boss or foreman of a crew. Not the owner, mind you—rather, the owner’s agent or segundo, the number two in charge. At the time the film also takes on a spectral quality.
It's an intense film, and replete with noir anxiety, peaking in a fine scene in which Frank Ivey backshoots Bill Schell at night, high in the mountains, using a double-barrelled shotgun.
Placing Ramrod in any kind of full context requires an apparatus of understanding. It stands as a turning point—a skilful and poignant summary of a long Western tradition. Yet, it also breaks free from convention, opening new avenues that would reshape the genre. Think of it as a bridge toward film noir, a departure from the norm.
Veronica Lake in Ramrod (1947) |
Consider the term western in 1943 when Short’s novel was written or in 1947 when the film was made. Westerns were a staple—abundant and diverse, and yet on another level all quite the same. They formed a rich genre pool for experimentation and invention. And like DNA, genres cross-fertilize, always paired with at least one other genre in a double helix of creativity.
André de Toth was a Hungarian director who honed his skills in the intricate dance between independent producers and major studios. He had influential mentors: the Korda family in England and Harry Saltzman of James Bond fame during the era of international co-productions. De Toth wasn’t a studio contract director and he thrived best on independent projects. His journey began in Hungary, led him to England during the war, and culminated in Hollywood.
And in 1947, de Toth directed Ramrod for Enterprise Productions—an indie company riding the wave of post-World War II opportunities. The film positioned him as a major talent, operating just below studio A-picture budgets but above exploitation levels. From Ramrod, de Toth collaborated with notable actors like Joel McCrea, Gary Cooper, Robert Ryan, Richard Widmark, and Randolph Scott.
Enterprise Productions faced challenges, including the ambitious Arch of Triumph (1948), which ultimately foundered. But Ramrod remains a great sign of de Toth’s impact on Western cinema—a singular work that defies easy categorization.
Around 1930, or perhaps after the actual Crash itself, the western style of novel writing seemed to split three ways. There were first a stream of artistically serious novels set on the western frontier.
Authors like Frederick Manfred, Conrad Richter, and Walter Van Tilburg Clark create literary works set in the West. Manfred explores Native American culture and themes, while Richter’s The Sea of Grass found its way to the big screen through Elia Kazan’s film adaptation in 1947. Clark, renowned for The Ox-Bow Incident, saw his work brought to life by director William Wellman in 1943.
Arleen Whelan in Ramrod (1947) |
At this time there developed a market for formulaic pulp for quick readers, a separate line of unremarkable pulp writing caters to readers seeking swift entertainment. These formulaic stories lack depth but remain intriguing for those who appreciate undemanding narratives.
Finally there emerged a stream of novel writing we are still familiar with today, which saw competent writers who unabashedly aimed for the avid mass market. These authors, akin to serious Hollywood filmmakers, prided themselves on narrative skills, personal voices, and subtle transformations. Their genre work experimented discreetly, appealing to sophisticated readers and viewers.
In this wilder western noir world, Connie Dickason’s character was as tough as they came – daughter of a ranch kingpin, but tangled up with Frank Ivey, the cattle baron who’s got the town in his iron grip. Connie was supposed to be his dame, but she had other plans – plans that involved a sheep rancher who got muscled out by Ivey’s iron fist.
Enter Dave Nash – he’s got ramrod written all over him. Connie wraps him around her finger to run her spread. Nash calls in Bill Schell, an old war buddy with a flexible moral compass but unshakeable loyalty. They’re up against Ivey, who is a ruthless kind of noir kingpin, on the range, not in a basement nor shady boxing promoters office.
Don DeFore in Ramrod (1947) |
Nestor Paiva in Ramrod (1947) |
Preston Foster in Ramrod (1947) |
Wally Cassell in Ramrod (1947) |
Rose Leland’s got eyes for Nash, and he ain’t cold to her charms. But Connie’s playing a dangerous game – using Nash and Schell like pawns on her chessboard of deceit. She even pulls a fast one – a cattle stampede to pin the blame on Ivey. But when the lawman Jim Crew tries to slap cuffs on Ivey, he gets a one-way ticket to the morgue.
The author highlights the impressive number and quality of noir westerns, which become evident when adopting a flexible definition of "noir." With hundreds of films that could qualify, choosing only 21 for detailed analysis was a significant challenge. The selected films showcase a range from classic noir plots to more idiosyncratic and minimalist approaches.
Despite their high quality, noir westerns have often been overlooked by major awards organizations due to a bias against genre films. This lack of recognition contrasts with their substantial contributions to cinema.
The connection between film noir and westerns has not been thoroughly examined, with only brief discussions in various articles, blogs, and sections of books. The author's book aims to fill this gap by focusing on individual directors who have made distinctive contributions to the noir western form. This personal approach to filmmaking has paved the way for others in the industry.
Cigarette burn attack in Ramrod (1947) |
Lloyd Bridges in Ramrod (1947) |
The term “noir western” seems contradictory at first glance, combining the bright, optimistic elements of traditional westerns with the dark, pessimistic traits of film noir. However, in mid-1940s Hollywood, a new film form emerged that blended these disparate elements into a distinctive sub-genre.
Influenced by various factors such as World War II’s horrors, German expressionistic cinema, and hard-boiled crime fiction, these noir-influenced westerns introduced greater moral ambiguity and psychological complexity into their narratives. They employed noir-style lighting to create mood and utilized storytelling techniques like voiceovers and flashbacks. This evolution transformed the cinematic “Wild West” into a place that reflected the post-war era’s bleaker outlook.
A certain group of talented directors contributed to this shift in storytelling. Notable figures included noir directors like Budd Boetticher and Anthony Mann, alongside Hollywood veterans such as John Ford and William Wellman. Their collective efforts didn’t replace traditional westerns but rather co-existed with them, enriching the genre during what is often considered its golden age in the 1950s.
The variety and quality of noir westerns are remarkable when adopting a flexible definition of “noir.” Selecting just a few standout examples for analysis is challenging due to the sheer number of worthy films. These range from textbook noir plots like Raoul Walsh’s “Colorado Territory” to Sam Fuller’s unconventional “Forty Guns.” Even lesser-known films like Mann’s “Man of the West” maintain high quality.
Despite their merits, noir westerns have often been overlooked by award organizations due to a bias against genre films. This lack of recognition belies their significant impact on both film noir and western genres.
While much has been written about film noir and westerns separately, there is scant in-depth exploration of their intersection. The connection between these two genres is strong and vital, deserving more attention than it has historically received.
André De Toth, known for House of Wax, primarily directed westerns and noirs, marked by a strong, unshowy style and a cynical view of humanity. Ramrod (1947), his first western, infused film noir darkness into the genre. Veronica Lake’s Connie Dickason evolves from a Stanwyck-like heroine to a destructive femme fatale, exemplifying early western noir.
Nash gets it rough – an ambush leaves him bleeding out. Schell covers his tracks, but Connie’s slip-up puts them in the crosshairs. Schell takes one for the team while Nash finds solace in Rose’s tender care. Ivey tracks down Schell like a hound and guns him down without mercy.
Nash has had it up to here. He squares off with Ivey, shotgun in hand, and beats him at his own game. Connie thinks she’s won – land and man. But Nash is done playing her twisted tunes – he’s heading back to Rose, where things are straight and true.
Veronica Lake fondly recalled Joel McCrea in her memoirs as one of the nicest and most honorable men she had ever met or worked with. She mentioned this while reflecting on Sullivan’s Travels, a standout film in both their careers.
Ramrod is a stark contrast to Preston Sturges’ work. Adapted from a Luke Short novel, it’s a dark and violent Western. Preston Foster plays the role of a powerful ranch owner allied with Charlie Ruggles, who owns nearby land. Foster is infatuated with Ruggles’ daughter, Veronica Lake, but she despises him. After Foster intimidates her fiancé into leaving town, Lake seeks revenge.
Veronica Lake may have been of a smaller frame, but her intense gaze was convincing on any screen, noir nor not. In this intricate Western, her performance is pivotal, and she excels. The cast also includes Joel McCrea as the stalwart hero, Donald Crisp as the authoritative sheriff, and Don DeFore, who portrays McCrea’s friend with a mix of charm and dubious morals.
Unlike typical Westerns with feuding landowners, this one features Lake and villain Preston Foster in a fierce battle of wits and wills. Lake and DeFore’s characters are morally ambiguous, adding a layer of unpredictability to their actions. Lake uses her cunning to manipulate men into fighting her battles, while DeFore struggles to balance his affections and allegiances.
Director Andre DeToth, sometimes André De Toth, sometimes Andre de Toth, the same person in and out of noir, masterfully handles a story filled with covert betrayal, concealed motives, and stark violence. His European roots and cynical outlook on humanity echo in his work, reminiscent of Sam Peckinpah’s style. DeToth’s unyielding direction is evident in the intense night battle scene and the shocking porch shooting.
Ramrod is an underappreciated Western with a mature narrative that requires attention to follow its complex plot. Yet, it offers stunning landscapes, exceptional performances, and well-placed action.
André De Toth directed two of the more notable of the finer film noirs: Pitfall (1948) and Crime Wave (1954). These films are considered some of the most unusually expressive and captivating as well as defining examples within the noir style.
Lake inherits some land and employs Joel McCrea to manage it, sparking a range war. However, she finds McCrea’s methods too gentle and secretly starts her own ruthless plans.This leads to an escalating body count, keeping the coroner busy.
Joel McCrea stands as the film’s moral anchor, embodying the noble Western hero once more. Preston Foster is perfectly cast as the villainous town tyrant. Foster would later play a similar role in Law and Order.
Unexpectedly, Don DeFore and Charlie Ruggles take on atypical roles. DeFore, typically cast as the affable sidekick, portrays a man prone to violence and easily manipulated by Lake. It’s also surprising to see Ruggles in such a serious role, contrasting with his usual typecast as the beleaguered husband from his films in the Thirties.
This film holds significance for Lake as she married director Andre DeToth during its production. Although DeToth claimed to have been married seven times, only three are documented on IMDb. Their marriage was troubled, but it resulted in a strong performance from Lake.
Ramrod stands out as one of the early examples of a mature Western. It’s grim and violent yet compelling.
Shipping into the lobbies and newspaper adverts, Ramrod (1947) rode hard with the following tagged messages:
They Called It God's Country... Until the Devil Put a Woman There!
7 GREAT STARS -- in one great picture!
"RAMROD" Deadlier than Steel
"CHEAT A MAN AND HE'LL THANK YOU...TREAT HIM LIKE DIRT AND HE'LL ADORE YOU!" (print ad - Lubbock Morning Avalanche - Lindsey Theatre - Lubbock, Texas - May 15, 1947 - all caps)
A WOMAN IS SOFT AND WARM...and deadlier than steel!! (print ad - Lubbock Morning Avalanche - Lindsey Theatre - Lubbock, Texas- May 17, 1947)
Men are so Easy!... A Little Lace, a Pair of Lips, a Touch, and they Kill for you! (print ad - Lubbock Morning Avalanche - Lindsey Theatre - Lubbock, Texas - May 14, 1947)
A recurring motif in Ramrod involves characters looking from an interior out to an exterior through various frames—doors, windows, etched batwings, or cave openings. This visual trope is an integral part of the film’s meticulously crafted mise en scène.
Although it seems unlikely for characters in 1947 to watch events through an aperture as if it were a television screen, the film plays with this irony of scale. Those inside, peering out, appear larger in the foreground, while those outside are smaller but often hold significant sway over the unfolding narrative.
Alongside stylized dialogue, deliberate pacing, and meticulously crafted interior/exterior visuals, the movie achieves a cool, detached effect. This effect seamlessly aligns with the film’s themes of consequence, determinism, and implacability.
“De Toth is one of those whose films, under- rated for far too long, are appreciated more and more each time one sees them. As the years go by, they have become indispensable companions which stimulate me and restore my confidence.”
Bertrand Tavernier, Preface to Fragments by André de Toth (London: Faber and Faber, 1994) p. xv
From The Noir Western Darkness on the Range, 1943–1962 by David Meuelby :
"In addition to giving us intriguing noirish characters in Ramrod, de Toth makes good use of noir visual techniques to reinforce the drama. One excellent example is in the way the director links Connie’s treacherous embrace of Bill with the stampede of her cattle. The film doesn’t cut from one scene to the next; it slowly dissolves, closely linking (in a very noirish way) the illicit passion the two characters share with the violence of the rampaging herd.11 Ramrod also possesses a noirish determinism, which harkens back to the bleak title of de Toth’s first U.S. film, None Shall Escape. One way this determinism is constantly reinforced throughout the film is with visual linkages between seemingly safe inside settings (a hotel, Rose’s dress shop, Connie’s ranch, a cave, etc.) and the more precarious outside, where characters are far more vulnerable to danger. Even though the characters in Ramrod are constantly seeking refuge of some kind, usually in these interior settings, de Toth seems to be saying here (as he says elsewhere), there really is none—that we really can’t escape life’s dangers and pitfalls."
André de Toth may not be widely known, even among classic film fans, but his work is distinctive and personal. He directed several notable film noirs, such as Pitfall and Crime Wave, and contributed significantly to the noir western sub-genre with films like Ramrod. His last western, Day of the Outlaw, is a dark film that summarizes his career much like The Man Who Shot Liberty Valance does for director John Ford.
In Ramrod, the contrast between two characters, Connie and Rose, is subtly portrayed. Connie is often destructive, even when she tries to help, while Rose represents repair and healing. This is symbolized through a piece of fabric that Dave gives Rose; she hesitates but eventually accepts it. Throughout the film, we see her working with the fabric until she finally wears the finished dress, which Dave suggests could be her wedding dress.
In a 2003 article for Senses of Cinema, Rick Thompson highlighted “Ramrod” as a pivotal film that both honors and breaks away from traditional westerns, paving the way for a blend with film noir. He views it as unique, standing apart from other films of its time.
Rick Thompson, “André de Toth, Luke Short, Ramrod: style, source, genre”, Senses of Cinema, March 2003.
Thompson’s observations are on point. André de Toth stays faithful to the western genre while also infusing it with his own noir elements, setting trends that would influence future westerns like “The Furies,” “Johnny Guitar,” and “Forty Guns.” In “Ramrod,” de Toth introduces two notable noir features: Connie, the femme fatale, and Dave, the flawed and easily swayed protagonist, typical of a noir film.
Ramrod (1947)
Directed by Andre de Toth
Written by Luke Short (story) | Jack Moffitt | C. Graham Baker | Cecile Kramer
Produced by Harry Sherman
Starring Joel McCrea | Veronica Lake | Preston Foster | Don DeFore
Cinematography Russell Harlan
Music by Adolph Deutsch
Production: Sherman Pictures | Enterprise
Release date: May 2, 1947
Running time 95 minutes