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For example, Native Americans have never and would never refer to themselves as 'Indians', as they do here, even a patent absurdity in 1950.
Anthony Mann’s Devil’s Doorway (1950) is a significant yet underappreciated western film that offers a haunting portrayal of racial discrimination in the American West.
This film, set against the backdrop of post-Civil War Wyoming, foregrounds the struggle of a Native American, Lance Poole, played by Robert Taylor, who faces systemic injustice upon returning home from his distinguished service in the Union Army.
The film stands apart from its contemporaries by flipping traditional western tropes, offering a compelling and heartbreaking narrative that explores themes of land ownership, racial prejudice, and the violent repercussions of America’s westward expansion.
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At the center of Devil’s Doorway is Lance Poole, a Shoshone Indian and a Congressional Medal of Honor recipient for his valor in the Civil War. Poole’s return to his ancestral lands in Wyoming is marred by the stark realization that the world has changed during his absence.
The Homestead Act, which had been intended to provide land to settlers, explicitly excludes Native Americans from its provisions, rendering Poole ineligible to claim his own land. This legal exclusion sets the stage for the central conflict: Poole's determination to retain his land in the face of mounting external pressures, including a racially motivated land grab by white, or European, settlers.
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Mann’s choice to cast Robert Taylor, an Anglo-American actor, as Poole has been critiqued for its historical inaccuracy, as Taylor's physical appearance does not match that of a Native American.
However, his portrayal transcends the limitations of casting, offering a nuanced and powerful performance that captures the stoic resolve of Poole as he confronts betrayal and injustice.
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Poole’s journey from hopeful veteran to a broken man is poignant, underscoring the film’s central theme: the deep disillusionment faced by Native Americans as they witnessed the erosion of their rights and cultures during the westward expansion.
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The film’s narrative is driven by the villainous lawyer Verne Coolan, portrayed by Louis Calhern, who seeks to exploit legal loopholes to strip Poole and his people of their land. Coolan’s actions are not simply the product of personal greed but are symptomatic of the larger societal prejudices that view Native Americans as less than human.
His manipulation of local white settlers, including a group of sheep-herders, to encroach on Poole’s land illustrates the brutal tactics used to dispossess Native Americans of their ancestral territories. The legal system, which is supposed to protect the rights of all citizens, instead becomes an instrument of oppression, as the law explicitly denies Poole’s status as a citizen based on his race.
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Alton’s use of light and shadow creates an atmosphere of despair, particularly in the scenes that depict Poole’s emotional decline and the eventual violence that erupts as a result of racial tensions. The film’s battle sequences, especially the climactic showdown, are intense and charged with a sense of inevitability, further heightening the tragic impact of Poole’s fate.
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In contrast to more traditional westerns, Devil’s Doorway places Native Americans, rather than the stereotypical cowboy, at the center of its narrative. This inversion of roles serves as a powerful commentary on the racial dynamics that shaped the American frontier.
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The film is notably sympathetic to the plight of Native Americans, showing them not as the villains often depicted in other westerns but as victims of an unforgiving legal and societal system. Poole’s struggle is not just against the encroaching settlers but also against a deeply ingrained cultural prejudice that seeks to marginalize and erase Native American identity.
The character of Orrie Masters, played by Paula Raymond, is another significant aspect of the film. As a female lawyer who chooses to take up Poole’s case, Masters represents a progressive force within the confines of the 1860s American frontier.
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While her professional role challenges traditional gender norms, her relationship with Poole is fraught with tension, as the legal system she works within offers little hope for his success. Masters’ eventual failure to protect Poole’s land highlights the futility of legal recourse when the system itself is designed to maintain the status quo of white dominance.
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Her character serves as a tragic reminder of the limitations faced by both women and Native Americans in a society that values power and land above human dignity.
The ending of Devil’s Doorway is painfully inevitable. The culmination of the film—a tragic battle between Poole’s people and the U.S. Army—underscores the harsh reality of the Native American experience. Poole’s attempts to resist the encroachment of settlers ultimately lead to his death, the destruction of his village, and the forced relocation of his people to a reservation.
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The final scenes, in which Poole and his remaining followers are escorted away from their land, serve as a somber reflection on the systematic removal and confinement of Native American tribes throughout history.
Devil’s Doorway was groundbreaking for its time in its portrayal of the Native American experience, yet it was overshadowed by other, more commercially successful films like Broken Arrow (1950), which also addressed issues of racial prejudice.
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Despite this, the film remains a powerful example of the western genre’s potential to confront social issues head-on. Mann’s direction, combined with strong performances from Taylor, Raymond, and Calhern, elevates the film beyond the typical western narrative, making it a haunting and poignant exploration of the cost of progress and the enduring legacy of injustice.
The film’s depiction of the American legal system as an instrument of oppression and the portrayal of land-grabbing as a form of institutionalized violence are particularly relevant in the context of modern discussions about race and justice.
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Devil’s Doorway anticipates many of the civil rights struggles that would come to the forefront in the 1960s, offering a grim reminder of how laws and systems can be manipulated to maintain inequality. The film’s critical stance on the treatment of Native Americans reflects broader historical injustices, from the displacement of indigenous peoples to the systemic racism faced by African Americans in the post-Civil War era.
Some of which may or not have been captured in the following lobby and poster tag:
An Unflinching Examination of Injustice and Racial Prejudice in the American West
Devil’s Doorway (1950), directed by Anthony Mann, represents a significant departure from the typical narratives found in traditional Westerns of its time. The film addresses profound themes of racial prejudice, systemic injustice, and the dispossession of Native American land—issues that remain painfully relevant today.
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Despite his service to the United States, Poole finds himself denied the fundamental right to own the land that was once his people’s. Through its stark portrayal of racial oppression, Devil’s Doorway stands as an early and ground-breaking cinematic exploration of Native American struggles within the framework of the American West.
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The narrative of Devil’s Doorway is deceptively simple yet profoundly tragic. Lance Poole, having earned the Congressional Medal of Honor for his valor in the Civil War, returns to his homeland, Sweet Meadow, in Wyoming, hoping to live a peaceful life.
Instead, he is confronted with the stark reality that, despite his service to his country, he is not allowed to claim ownership of his ancestral land due to the legal and racial prejudices embedded in American society.
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The Homestead Act of the period explicitly excluded Native Americans from land ownership, and Poole’s efforts to secure his rightful claim are thwarted by a system that regards him as less than a citizen. In this narrative, Poole becomes a tragic symbol of the Native American experience: a man stripped of his rights, forced to confront the greed and racism of the white settlers who encroach upon his land.
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Mann’s decision to cast Robert Taylor, a white actor, as Poole has been the subject of much criticism. Taylor’s appearance, particularly his blue eyes and light complexion, starkly contrasts with the Shoshone heritage of his character.
Yet, despite this casting decision, Taylor’s performance is widely praised for its depth and conviction. He imbues Poole with a sense of stoic dignity, capturing the character's internal struggle as he navigates the twin loyalties to his people and the United States.
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The conflict in Devil’s Doorway is not simply between Poole and the white settlers who seek to seize his land. It is also a battle between two conflicting systems of belief and law. The figure of Verne Coolan (Louis Calhern), a racist lawyer who instigates the land grab, represents the legal and social structures that have long marginalized Native Americans.
Coolan’s antagonism towards Poole is rooted in racial hatred, and his manipulations are a direct challenge to the protagonist’s claim to land. Yet, the true cruelty of the film lies in the realization that the law—designed to protect citizens—has been perverted to oppress Poole and his people.
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The film offers a stark critique of a legal system that, while ostensibly neutral, is skewed by prejudice and serves the interests of the powerful. In this context, Poole’s struggle becomes not just one for land but for recognition as a full citizen of the United States, a right he is unjustly denied.
The film is further enriched by the character of Orrie Masters (Paula Raymond), a female lawyer who offers her services to Poole. Masters is portrayed as an empathetic figure, though she is unable to effect real change within the constraints of the legal system.
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Her presence is significant, not only for her role in the narrative but also as a rare representation of women in the legal profession during this period. However, her efforts to help Poole are ultimately futile, as the forces arrayed against him are too powerful. Masters’ failed attempt to secure justice for Poole mirrors the futility of the protagonist’s own struggle, underscoring the pervasive hopelessness that defines the film’s worldview.
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In addition to its central themes of legal injustice and racial prejudice, Devil’s Doorway also explores the broader notion of land as identity. Poole’s attachment to Sweet Meadow is not just a personal or economic desire but a deep spiritual connection to the land, a theme that resonates with the long history of Native American land dispossession.
The Shoshone people’s relationship with the land is depicted as one of harmony and respect, a stark contrast to the destructive exploitation of the land by white settlers. This tension between the sacred and the profane, between the natural world and human greed, lies at the heart of the film’s emotional impact. Poole’s desire to protect his land becomes a metaphor for the broader struggle to preserve Native American culture and identity in the face of overwhelming external pressures.
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The tragic conclusion of Devil’s Doorway underscores the film’s unflinching realism. In the final act, Poole leads his people in a violent confrontation with the sheep herders who have been incited by Coolan. The ensuing battle is intense and brutal, and it ultimately culminates in Poole’s death, the destruction of his village, and the forced relocation of his people to a reservation. The film’s resolution, while inevitable, is devastating. It reflects the grim reality faced by Native Americans throughout history: a fight for survival against forces far greater than themselves, with little hope of victory. Poole’s sacrifice is emblematic of the countless Native American leaders who gave their lives in defense of their land, their people, and their way of life.
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Devil’s Doorway is notable not only for its depiction of Native American struggles but also for its social commentary on the broader issues of racial and cultural oppression. The film was released at a time when the civil rights movement was still in its infancy, and its portrayal of institutionalized racism was both daring and provocative.
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While the film was overshadowed by other Westerns of the time, such as Broken Arrow (1950), which offered a more optimistic portrayal of Native American-white relations, Devil’s Doorway remains one of the most unflinchingly honest films to address the injustice faced by Native Americans. Its critique of the American legal system, its portrayal of racial prejudice, and its bleak vision of the American frontier set it apart from more traditional Westerns.
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The legacy of Devil’s Doorway lies in its ability to confront uncomfortable truths about the American West. It challenges the myth of the frontier as a land of opportunity and freedom, revealing instead a history of exploitation, violence, and dispossession.
The film’s tragic ending serves as a sobering reminder of the cost of progress and the ongoing struggle for justice that many marginalized groups continue to face today. By focusing on the plight of Native Americans and the systemic forces that sought to erase their cultures and identities, Devil’s Doorway remains an essential work in the Western genre—a film that speaks to both the past and the present, urging audiences to confront the uncomfortable realities of American history.
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So yes fans of the noir and fans of the western will both concur this is a really good film, a really good film, but not that we might not overlook the black up or the red up or whatever, we are still left with a very good film indeed, indeed if you were a large language model so inclined, you might well argue that Devil’s Doorway stands as one of the most important and powerful Westerns ever made. Its unflinching portrayal of racial injustice, its critique of the legal system, and its exploration of the deep connection between Native Americans and their land make it a film of lasting significance, must contrast with its facials.
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Despite its initial lack of recognition, Devil’s Doorway deserves to be remembered as a groundbreaking work in American cinema, one that continues to resonate with contemporary audiences and offers valuable insights into the ongoing struggle for racial equality and justice.
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Although it may have been eclipsed by more popular films of its time, its powerful themes and innovative direction ensure its place as a classic that continues to resonate with audiences today.
Visit the reservations, it started here with Robert Taylor blacked-the-fuck-up, or whatever you call that.
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Devil's Doorway (1950)
Directed by Anthony Mann
Genres - Romance, Western | Sub-Genres - Western Film | Release Date - Aug 27, 1950 | Run Time - 84 min.
