There Never Was a Motion Picture Like Shane

One of the finest examples of the “classic western”, one that still holds up to this day, is George Stevens’ Shane released back in 1953. Shane succeeds beautifully as a traditional western, with all the usual western fare at play; i.e., gorgeous landscapes, horse-riding, and gunplay. It has something that other westerns don’t, however, and that’s Alan Ladd’s Shane himself. At first Shane appears like any mysterious drifter does in these films, but how he approaches the central conflict and, moreover, how he influences his new found friends makes Shane such a pleasure to watch. It’s this title character’s reserved attitude and willingness to conform to a simple life that makes Shane stand out.

As the film begins, Shane comes across a small homestead occupied by Joe Starrett (Van Heflin), his wife Marian (Jean Arthur), and his young son Joey (Brandon De Wilde). At first unsure of Shane’s intentions, the Starrett’s are cautious to welcome him to their home, and Shane decides to go on his way. After an unexpected visit by some unfriendly ranchers however, Shane decides to stay and help the Starrett’s, and they quickly warm to him. This bond between the Starrett family and Shane starts the foundation for a heartwarming story that puts family first, and gunslinging second. Shane isn’t your typical desperado, and that’s what makes him such a likeable and distinct hero of the genre. He doesn't shoot first, he’s never looking to start trouble, and he has a much warmer demeanor than say Ringo the Kid or “The Man with No Name”. In fact, he’s barely ever armed throughout the entirety of the film, only using his revolver in the film’s climactic final scene. Shane’s motivations are never predictable, but he never goes out of line, which is unusual in the Western genre.

The majority of the story is seen through the eyes of young Joey Starrett. He watches in awe as Shane beats on Ryker’s crew, and is always present in the more adult conversations. Shane ends up taking on a father figure role for Joey, showing him how to shoot a gun and teaching him important lessons. Joey’s innocence gives the story a lot of charm, but it’s not just Joey that gives the film its heart. Joe almost immediately becomes Shane’s employer and good friend, and couldn’t be happier to have someone new to help out around the homestead. This bond only becomes stronger, as they not only labor with one another, but fight by each other’s side. Marian and Shane begin to show an obvious affinity towards one another, though this is never acted upon, making these characters even more dignified. Nevertheless, it is young Joey and Shane’s relationship that is the most intimate, as he’s the first to see Shane arrive and the last to watch him go.

The Starrett’s are a kind and compelling group, but their community of settlers are an equally likeable crew that are easy to sympathize with. After a bit of a misstep in town, Shane is quickly welcomed by the settlers with open arms. While Shane may be the obvious hero of the film, for the most part he’s just another member of the community. These various characters add a lot of emotional depth to the film, as it’s frustrating to see such good people bullied by the local thugs. This community of settlers is one that we as an audience grow to love. We see them celebrate the 4th of July, mourn one of their fallen members, and come together to help each other when need be. It’s not hard to see why Shane would be more apt to turn his old lifestyle in for one such as this.

Shane’s heroes are just as well cast as the villains, as Ryker (Emile Meyer) and his band of thugs are perfectly loathsome, picking on and terrorizing the settlers as they see fit. Shane’s first introduction to Ryker’s crew is perfectly tense, and the bare-knuckle fight sequence that follows is absolutely thrilling. Ryker and his gang is the one thing getting in the way of Shane’s new life, and for this they’re all the more irritating. The real villain of the film is Jack Wilson however, cooly portrayed by a young Jack Palance. Wilson is a fitting antagonist for Shane, a lean, tall, taunting gunslinger whose reputation precedes him. Palance doesn’t have many lines, but he doesn’t need them, as his black hat-wearing, coffee-drinking persona is menacing enough.

It’s not just the story that makes Shane such a marvel, as Stevens’ does a beautiful job directing his tale. He clearly took full advantage of the beautiful Wyoming landscapes, with mountains always seemingly lurking in the background. Even the more dialogue-oriented scenes are made alluring, as Stevens’ takes advantage of every door frame and window in each shot with his meticulous framing. At the Starrett’s homestead, each family member can be clearly seen, even when in different rooms or outside the house. At the fight scene in the saloon, Stevens puts you right in the action, whereas the fight between Shane and Joe is seen from a distance and obstructed by various farm animals. One of the finest shot scenes is when the brave Stonewall takes on Wilson, a long shot where Wilson towers over Stonewall, shadowing him from the saloon’s porch as Stonewall wades through the mud. This deft direction gives Shane a much more sensitive or tense feeling, depending on which mood Stevens’ wants to convey in any given scene.

The score is also memorable, with scenes of peril and excitement equally matched by tense and abrasive music, while allowing for a slower and more sentimental sound for the tender moments of the film. The editing is also brilliant, with good reason, as the film was actually completed in 1951, but wasn’t released until 1953 due to Stevens’ painstaking editing process. Fight scenes are interspersed with clever juxtapositions, such as Joey biting down hard on a peppermint stick, chairs being thrown about, or horses and cattle getting riled up by the violence before them. Stevens’ craftsmanship surely paid off, as it's these small touches that add to the overall brilliance of the film. While Shane can be as brutal and exciting as most westerns of its time, its unorthodox hero, charming sense of community, and intriguing story make it a rodeo of its own.

10 out of 10 soda pops