Joe!
Gentlemen!
My FAVOURITE western of all time! - It'll NEVER be bettered.
My take on the film takes Us back to when I was 6-8 years old . . . I can't be more accurate than that, other than it is a point where I can safely say that my own personal Hero-Worship of my own Dad certainly multiplied if not when it actually began.
This was before video and definitely before DVD . . . so when a movie came along - Ye either watched it 'live' or Ye had to wait until one of Our 4 - Yayus 4 - TV stations showed it again. As it happened, one Saturday Dad treated me to staying up 'very late' - prob'ly as late as 10 o'clock(!!!!!!!) to see 'The Best Western ever made". (His words NOT - mine at the time).
I HATED IT! Slow, Dull, a unglamourous, horribly mucky Town, a Saloon Brawl and a sixty second (if that) Gunfight at the end and then that Soppy Love Story with Ma throughout the story, the disturbing (particularly for a child) conflict between Ladd and van Heflyn and the tear-jerker ending - Shane, Shane, Shane, Shaaaane . . . we ALL love yuh!" (Bleuch!)
I complained to Dad . . . . and as luck would have it - one of the other TV stations was showing Shane again - on a school night - during the following week. Dad promised Me that I could stay up - if I listened to what He was going to explain to Me . . . . . his analysis will stay with Me 'till the days when both He and I 'pop off' to meet Shane in person.
Shane is an ex- Confederate, who because of his experiences in the Civil War and thru’ circumstances in the post-bellum South He has chosen to wander the Frontier, seeking a place where He can put down roots and put the War and his personal 'sins' behind him. (There is scope for believing that as an Officer and he failed his Men at some point – possibly even seeking the Rear during a critical phase of the Battle and leaving his men to their fate. Basically there’s a hint at Post Traumatic Syndrome . . . . way, way, way before that became a popular ‘Hollywood Theme’ .)
Sooo . . . Dad gave me some pointers to watch out for on my 2nd viewing of the Film.
Shane’s manner of dress – hinting at the Confederate Officer’s Uniform.
Shane’s Courtesy and Manners – his quiet spoken and polite conversation . . . even when speaking to the Baddies – hinting at his ‘Genteel Southern Gentleman’ roots.
His eschewal of Whiskey and Tobacco – a clean living Man.
His obvious feeling for van Heflyn’s wife – but his restraint and respect displayed in his treatment of Her and her Husband.
His refusal to work for the Baddies and his association with the Farmers – this is a most important depiction of the Baddies attempting to ‘rule the roost’, interfering with the Liberties of Others . . . a subtle, but unmissable ‘dig’ at Yankeedom and States’ Rights.
These points were made to place Shane in your mind’s eye, as a Good Man – inexorably drawn to do BAD things later in the tale, when Fire had to be met with Fire – when Evil had to be defeated by it’s own nefarious methods.
Wilson/Palance was a brilliant piece of casting. Again – Dad’s pointers:
He dresses totally in black and rides a totally black horse – just to make sure You KNOW he’s the Villain.
He rides into Town and
THAT dog is on the boardwalk – slinking into the Saloon upon first sight of Wilson.
(“Something really BAAAAAD has just come into town – I’m outta here!”)Palance’s dismount of his horse – in stages, freezing at times during the dismount, poised and balanced, menacing – like a Preying Mantis stalking prey.
THAT Dog again slinks out of the Saloon and into the adjoining Grocery when Wilson enters . . .
(Maaaaan . . . sometimes Trouble jest follows Ye around like a baaaaaad smell!")Wilson's ready association and willingness to work and accept pay from the Baddies/Yankees – show him as another Yankee – a Carpetbagger with guns . . . . no thought/respect given for the Rights of the Farmer’s. . . . . . Pure Evil.
His ‘Yankeeness’ is also displayed when He goads Torrey into drawing on Wilson first so Wilson can gun him down ‘in self-defence’, after Torrey toasts General Stonewall Jackson and his own southern home state (Alabama?) - on the 4th of July.
He also advocates and praises the ‘Yankee’s’ burning of the Hill’s home when the Farmer's are all attending Torrey's funeral – driving Him and his Family from the Valley.
Obviously at the age I was at the time – Dad used simpler language, didn’t mention the sexual tension in the ménage a trois of Shane, ‘Big’ Joe and his Wife and some of Dad’s points sailed right over my head . . . . . but I understood that there was a Story behind the story – in big, adult words – the Film was an allegory.
As Years passed, I watched the movie over 20 times and each time another layer evolved in my mind.
The Story had to End – as did the allegory.
My take is that Alan Ladd couldn’t be seen to die . . . . He was the BIG Hollywood star, the Hero, the Good Guy . . . the story HAD to end with Him alive and the Bad Guys face down in the muck.
He couldn’t remain in the Town – too much torment, temptation and scandal lay ahead of Him involving the Farmer’s Wife.
AND even at my tender age – I could see the conflict Joey struggled with between his love for his Father and his awe of Shane.
(If I recall correctly – Joey tells his Mother he hates Shane for hurting his Father after Shane and Joe fight in the Farmyard and then questions why the two men He loves were fighting in the first place???)So why was Shane wounded at all? From a plotline perspective – there was the shock ‘n’ horror, Gasp! Whew! Audience 'thrill' reaction – what the schills paid their dollar to see.
From the allegory perspective – I believe that Shane WAS the Confederacy. Plain and simple.
He came upon a situation where ‘States’ Rights’ needed defending. The Farmers/States are depicted as a Swede, a stereo-typical 'roughneck' Southerner, a hint of Texas - 'Starrett', a neutral/slightly English 'Hill', etc . . . . whilst the Ranchers are depicted as 'Stateless' and homogenous.
Agrarian society was being tyrannised by the ‘industrial’ methods of the Ranchers. Shane assists the Farmers and resists the ‘Yankees’ by peaceable means . . . but, when they up the ante and become aggressively ‘physical’ and hostile . . . . even tho’ he is hopelessly outnumbered and out gunned . . . Shane takes them on
(and because the Film has a pro-southern slant) – he wins.
Shane is depicted as standing up for the ‘American Ideal’.
And Shane riding into the sunset, hiding his wounds and as kindly as he can - spurning Joey’s pleas for him to remain . . . . . He has already told Joey that His (Shanes’) place/world is of the past and that Joey should work and behave well to ensure his (Joey’s) future and happiness . . . . is – To Me ‘n’ Dad . . . .
THE Question the viewer is left to determine for Himself.
The allegory proposes that - The Confederacy won on moral grounds, but was defeated and damaged in physical terms . . . .
However - was it Right and Proper . . . . . or has/did/will it become just another romanticised adjunct in ‘futility’ that recurs throughout History?
IF Shane was Right in what he did and admirable in his actions – then so was the Confederacy.
IF the Union were Right and admirable in their actions – then Shane fell off the Horse once he crested the Hill and the sun went down.
Either way . . . . he wasn’t trampled by routed Rebs . . . . they woulda picked him up and brought him back to health.
Pat.
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