Winchester '73 (1950)

Winchester '73 (1950) is a weapon worshippin road movie adventure mortal peril survival on the range revenge western film noir picture following the journey of a prized brand new state of the art lever action rifle the Winchester 1873 a formidable weapon on the range, from one ill-fated owner to another, as well as a cowboy's search for a murderous fugitive, and plenty side swipes at native American victims and dispossessed savages, a la Hollywood.

Winchester '73 (1950), directed by Anthony Mann and starring James Stewart, is widely regarded as a milestone in the development of the Western genre. It is a film that transcends the conventions of its time, bringing a darker, more psychologically complex approach to the genre, while still maintaining the essential elements that define a great Western. Those elements are not as varied as you might like ti imagine, it's a tight set of tropes on the range. Here though and in western noir, psychological western film noir, the cultural impact of Winchester '73 as a transformative film in Hollywood's portrayal of the American frontier should be manifest as much as it's a manifesto.

The gun yeah that is a narrative high point fetish ubermacguffin-style nicer than women and the Winchester 1873 could hold up to 15 rounds of . 357 Magnum or . 38 Special ammunition making it as noted a formidable weapon on the range, with its accuracy and reliability making it a favourite, and the cowboys are hard on for it, and there it goes from zealot to desperado to burning building, with some of the best noir cast available to the world of 1950.

It's the story of America, as ever it was told, the western loves to do this, so here is a big west fetish, a festschrift for the rifle.

The film was originally slated to be directed by Fritz Lang, a filmmaker with a deep understanding of human psychology and noir sensibilities. Lang’s vision for Winchester '73 was radically different from what eventually transpired. He envisioned the rifle as the central character of the narrative, a symbol of the protagonist's strength, his raison d'être, and his only means of survival. However, Universal Pictures did not want Lang to produce the film through his own company, Diana Productions, which led to the studio replacing him with Anthony Mann. Mann, an experienced director of B-noirs, recognized the potential of the material and set out to transform it into a work that would subvert traditional Western tropes and present a more adult, morally ambiguous tale. This creative change in direction led to the film's success, not just in terms of its box office performance, but also in how it influenced the Western genre, setting the stage for a new era of mature Westerns.

The film follows Lin McAdam, played by Stewart, who seeks revenge against Dutch Henry Brown (Stephen McNally), the man responsible for his father's death. The story revolves around a prized Winchester rifle, the "one in a thousand," which McAdam wins in a shooting contest. When Brown steals it from him, the rifle passes through a series of hands, with each new owner contributing to the narrative’s unfolding tragedy. The rifle itself, the "one in a thousand," becomes not just a symbol of masculinity and power, but also a representation of the fractured moral landscape McAdam must navigate. The film’s episodic structure—where the rifle passes from one character to another—reinforces the theme of moral decay as each owner becomes further entangled in violence and betrayal. This narrative device places the rifle, rather than McAdam or Brown, at the center of the story, imbuing it with an almost mythic quality.

Winchester '73 is notable for its subversion of typical Western tropes. Traditional Westerns, particularly those of the 1930s and 1940s, often focused on clear distinctions between good and evil, with heroes who embodied ideals of rugged individualism and villainy represented by easily identifiable antagonists. In contrast, Winchester '73 presents a far more morally ambiguous world. McAdam, though a protagonist, is far from a flawless hero. His pursuit of Dutch is driven not only by revenge for his father’s murder but also by a deep psychological need to restore his sense of honor. As McAdam relentlessly tracks his brother Dutch, his quest becomes not just about vengeance, but about confronting the deeper wounds left by the loss of his father. His obsessive pursuit eventually brings him to the brink of madness, making him a complex and deeply flawed hero. This psychological depth was something the Western genre had rarely explored with such intensity before.

Stewart’s performance in Winchester '73 marks a significant departure from his more wholesome, "aw-shucks" persona, which he had built his career on. The film shows a darker, more intense side of Stewart that would come to define many of his roles in the 1950s. His portrayal of Lin McAdam is one of internal conflict, as McAdam’s determination to avenge his father’s death consumes him. Stewart's ability to convey McAdam’s obsession with vengeance is masterful, and the character’s slow descent into moral ambiguity is one of the film's most compelling elements. In contrast to earlier, more idealized portrayals of Western heroes, McAdam’s character is a man who, in his pursuit of justice, becomes just as capable of violence and ruthlessness as the very men he seeks to punish. Stewart’s performance thus embodies the shift in the Western genre from a celebration of heroism to an exploration of the consequences of personal trauma and obsession.

Mann’s direction, coupled with William Daniels’ cinematography, elevates the film to a level of visual sophistication rarely seen in Westerns of the time. The film is shot in stark black-and-white, which serves not only to create a visually striking atmosphere but also to emphasize the moral and emotional complexities of the story. The use of light and shadow, especially in the interior shots, creates a sense of claustrophobia, underscoring the psychological turmoil experienced by McAdam. Meanwhile, the wide expanses of the Arizona desert, captured in sweeping panoramic shots, serve as a visual metaphor for the emotional emptiness that drives the characters. The contrast between the vast, open spaces and the emotional entrapment felt by the characters adds an extra layer of meaning to the film, reflecting the internal conflict and moral ambiguity that defines McAdam’s journey.

Mann’s ability to blend the psychological depth of film noir with the sweeping landscapes and rugged morality of the Western is one of the most impressive aspects of Winchester '73. While many traditional Westerns of the period relied on wide shots and epic vistas to convey the majesty and glory of the frontier, Mann uses the terrain to reflect the emotional isolation and inner turmoil of his characters. The barren landscapes are not just geographical spaces but psychological ones, mirroring McAdam’s inner conflict. Mann’s camera placement and use of space underscore the desolation McAdam feels as he embarks on his obsessive quest for vengeance. The final confrontation, set among jagged rocks, is emblematic of the film’s theme of emotional confinement, with the physical environment mirroring the psychological traps the characters have constructed for themselves.

Winchester '73 is also notable for its well-rounded supporting cast, each of whom brings depth and complexity to their roles. Stephen McNally is chilling as Dutch Henry Brown, portraying a character whose bitterness and resentment lead him down a dark path. His performance is one of controlled menace, never overplaying the villainous aspects of his character, but instead allowing the audience to see the humanity beneath the hatred. Dan Duryea, in a standout performance, plays Waco Johnny Dean, a psychopathic outlaw who provides much of the film’s tension and unpredictability.

Duryea’s portrayal is a masterclass in creating a character who is both charismatic and terrifying, with a sadistic sense of humor that heightens the tension whenever he is on screen. Duryea’s performance as Waco Johnny Dean is arguably one of the film’s most memorable, and his role as a despicable yet strangely fascinating villain demonstrates the film's willingness to explore the darker side of human nature.

The Gun That Won The West!

Shelley Winters plays Lola, a dance-hall girl who becomes entangled in McAdam's quest. While Winters’ role has been criticized by some as somewhat unnecessary, her performance still adds an emotional depth to the film. Lola is not a mere romantic interest but a character with her own complexities. Her relationship with McAdam is tinged with a sense of shared loneliness and a yearning for redemption. Although her character’s motivations are not fully developed, Winters’ ability to convey vulnerability and strength in equal measure makes her an interesting foil to McAdam’s increasingly obsessive and darker character.

The film also features early appearances by Rock Hudson and Tony Curtis, who both play minor roles in the story. Hudson portrays Young Bull, a Native American chief who briefly holds the rifle, while Curtis plays a young cavalry soldier. These early roles demonstrate their rising stars, adding an element of historical authenticity to the film while also allowing the audience to see these actors before they became household names. The casting of Hudson and Curtis highlights the film’s broader cultural context and serves as a reminder of the changing landscape of Hollywood, as the stars of the 1950s began to emerge from the B-movie ranks.

The soundtrack of Winchester '73, though lacking a credited composer, is composed of stock music from various artists, including Frank Skinner, Hans Salter, and Julius Styne. While the score may not stand out as much as the film’s other elements, it serves its purpose effectively, enhancing the film’s emotional and dramatic moments without overshadowing the action. The music's understated quality allows the focus to remain on the story and performances, contributing to the film’s overall sense of tension and unease.

Winchester '73 was not only a critical and commercial success but also helped to redefine the Western genre. It introduced a more complex, adult approach to storytelling that influenced subsequent Westerns. Its focus on psychological themes, the erosion of traditional morality, and the deconstruction of the Western myth laid the groundwork for the more gritty and realistic Westerns that would follow. The film also played a significant role in shaping the careers of both Stewart and Mann, establishing them as key figures in the evolution of the Western genre.

The film’s financial success was bolstered by a new business model pioneered by Stewart. In a break from Hollywood’s traditional payment structure, Stewart negotiated a deal that granted him a percentage of the film’s profits rather than a flat salary. This deal, orchestrated by Stewart’s agent, Lew Wasserman, would eventually earn Stewart $600,000 from the film’s success. This deal set a precedent for future actors, revolutionizing the way they were compensated and paving the way for the modern "points" system in Hollywood. The financial arrangement also showcased Stewart's willingness to embrace a new kind of Hollywood business, one that would come to define the industry's star-driven model for decades.

In Winchester '73, the film's climax, a final shootout between McAdam and Dutch Henry, is a study in contrast. McAdam, having spent the entire film consumed by vengeance, finds himself in a position where he must confront his own humanity. The final confrontation between the brothers is not just a shootout; it is the culmination of McAdam's internal struggle with guilt, loss, and the obsession that has driven him throughout the film. 

Out o control wagon with Shelley Winters and Jay C Flippen in Winchester '73 (1950)

The final exchange of gunfire, with its stunning visual effects as bullets ricochet off rocks, represents the end of McAdam's journey, but it is not a moment of triumph. Instead, it is a somber conclusion to a cycle of violence and obsession. McAdam, though victorious, has sacrificed his innocence and become just as morally compromised as the man he set out to destroy.

Winchester '73 stands as one of the finest examples of the Western genre. It marks the beginning of a new era of Westerns, characterized by morally complex characters, psychological depth, and a more nuanced exploration of the American frontier. 

Through its innovative use of narrative structure, its focus on the internal struggles of its characters, and its striking visual style, Winchester '73 redefined what a Western could be. Its impact can still be felt today in films that continue to explore the complexities of the American mythos and the moral ambiguities of the heroes and villains that populate its stories. 

By breaking away from traditional Western ideals, Winchester '73 set the stage for a new generation of filmmakers to explore the darker, more conflicted nature of the American West.