Hot Movie Takes – “Rawhide”
©By Leo Adam Biga, Author of “Alexander Payne: His Journey in Film”
I love a good Western. This quintessential American film form is full of possibilities from a storytelling perspective because of the vast physical and metaphorical landscapes it embodies. The American West was a wide open place in every sense. Everything there was up for grabs. Thus, the Old West frontier became a canvass for great conflicts and struggles involving land, resources, power, control, law, values, ideas, dreams and visions. With so much at stake from a personal, communal and national vantage point, dramatists have a field day using the Western template to explore all manner of psycho-social themes. Add undercurrents of personal ambition, rivalry, deceit and romantic intrigue to the mix not to mention race and ethnicty, and, well, you have the makings for a rich tableaux that, in the right hands, is every bit as full as, say, Shakespeare or Dickens.
All of which is to say that last night I viewed on YouTube a much underrated Western from the Golden Age of Hollywood called “Rawhide” (1951) that represents just how satisfying and complex the form can be, This is an extremely well-crafted work directed by Henry Hathaway, written by Dudley Nichols and photographed by Milton Krasner. Tyrone Powers and Susan Hayward head a very strong cast rounded out by Hugh Marlowe, Jack Elam. Dean Jagger, George Tobias, Edgar Buchanan and Jeff Corey.
“Rawhide” isn’t quite a Western masterpiece but it’s very good and elements of it are among the very best seen in the Western genre. Let’s start with the fact that the script is superb. It’s an intelligent, taut thriller with a wicked sense of humor leavening the near melodramatic bits. Nichols wrote some of John Ford’s best films and so in a pure story sense “Rawhide” plays a lot like a Ford yarn with its sharply observed characters and situations that teeter back and forth between high drama and sardonic relief.
Like most great Westerns, this is a tale about the tension between upstanding community, in this case a very small stagecoach outpost stop, and marauding outlaws. Across the entire genre the classic Western story is one variation or another of some community, usually a town or a wagon train, under siege by some threat or of some individual seeking revenge for wrongs done him/her or of a gunman having to live up to or play down his reputation.
In “Rawhide” escaped outlaws are on the loose and the stagecoach station manager (Buchanan) and his apprentice (Power), along with a woman passenger (Hayward) and her child, are left to fend for themselves by U.S. cavalry troops hot on the bad guys’ trail. When the four desperate men show up they make the station inhabitants their captives. The leader (Marlowe) is an educated man who exhibits restraint but he has trouble keeping in line one of the men (Elam) who escaped prison with him. Sure enough, things get out of hand as tensions among the outlaws and with the surviving hired hand and woman mount. The criminals are intent on stealing a large gold shipment coming through and the captives know their lives will be expendable once the robbery is over, and so they scheme for a way to escape. The trouble is they are locked in a room most of the time and when let outside they’re closely guarded. Their best chance for getting out of the mess seems to be when a nighttime stage arrives but it and its passengers come and go without the man or woman being able to convey the dire situation. But one more opportunity presents itself when the daytime coach with the gold shipment approaches and the pair, aided by the outlaws’ own internal conflicts. use all their courage and ingenuity to face down the final threat.
The dramatic set-up is fairly routine but what Nichols, Hathaway and Krasner do with it is pretty extraordinary in terms of juxtaposing the freedom of the wide open spaces and the confinement of the captives. A great deal of claustrophobic tension and menace is created through the writing, the direction and the black and white photography, with particularly great use of closeups and in-depth focus. Hathaway’s and Krasner’s framing of the images for heightened dramatic impact is brilliantly done.
The acting is very good. Power, who himself was underrated, brings his trademark cocksure grace and sense of irony to his part. Hayward, who is not one of my favorite actresses from that period, parlays her natural toughness and fierceness to give a very effective performance that is almost completely absent of any sentimentality. Marlowe is appropriately smart and enigmatic in his role and he displays a machismo I didn’t before identify with him. Buchanan, Jagger, Tobias and Corey are all at their very best in key supporting roles that showcase their ability to indelibly capture characters in limited screen time. But it’s Elam who nearly steals the picture with his manic portrayal that edges toward over-the-top but stays within the realm of believability.
“Rawhide” doesn’t deal in the mythic West or confront big ideas, which is fine because it knows exactly what it is, It’s a lean, realistic, fast-paced Western with just a touch of poetry to it, and that’s more than enough in my book.
Hathaway made more famous Westerns, such as “The Sons of Katie Elder” and “True Grit,” but this is a better film than those. With his later pics Hathaway seemed to be trying to follow in the footsteps of John Ford with the scope of his Westerns, but he was no John Ford. Hathaway was best served by the spare semi-documentary style he employed earlier in his career in film noirs like “Kiss of Death,” “13 Rue Madeleine” and “Call Northside 777” and Westerns like “Rawhide.” One exception was “Nevada Smith,” which does successfully combine the leanness of his early career with the sprawling approach he favored late in his career.
Rawhide 1951 Full Movie – YouTube
Omaha South High boys soccer is good again. No news there. By now, it’s become a tradition. In a you-can’t-take-anything-for-granted world, few things have become more dependable in Omaha high school sports than this program competing for district and state honors. It’s not exactly a given but at this point the team is expected to win every time out no matter who they play, no matter how few returning starters there on the roster, no matter who’s injured. The 2017 team lacks experience and suffered some key injuries before the season even began and yet the expectations both inside and outside the program remain high. As in get-to-the-state-tournament and win- it-all high. South did it last year and a couple years before tha, toot. The Packers have been in the hunt for the title several other years. Coach Joe Maass has a full-blown dynasty on his hands and he’s trying to learn from the past to help keep his latest defending champion squad hungry and peaking at the right time. Here’s an El Perico story I wrote in late March laying out how Coach Maass sees his team shaping up.
New approach, same expectation for South soccer
©by Leo Adam Biga
Originally appeared in El Perico
Lessons learned when Omaha South boys soccer won it all in 2013 inform the way coach Joe Maass does things now following last year’s second state title. He not only draws on that earlier experience but on a recent family challenge and the expertise of fellow coaches.
Heavy graduation losses from last year’s championship team have him invoking “a Bill Belichick approach.” he said, referring to the New England Patriots head coach. “The Patriots don’t always have the best players yet he’ll grab somebody’s second-team player or a late round draft pick and make them a fit for his system, We’ve focused a lot more on working hard in practice then maybe we did the year after we won it the first time.”
Hard work rubs off the youth on so many new faces.
“We feel like our talent level could drop off because we’re younger,” Maass said. “We only have four or five seniors, so we’ve had to just kind of bring a blue-collar mentality to it.”
He said his Packers reflect South Omaha’s personality.
“Blue-collar tough. That’s South Omaha to me. We’re not the biggest, but we’ll bang with you if you want.”
Attitude’s everything for this perennial power everyone wants to take down.
“These guys have to remember they play for South. Every team we play approaches it like the World Cup, so we can’t let up or coast. The fact we’re defending state champions just adds to it. The first time we won it we took it serious but I didn’t realize how serious it had to be. This time it’s been more of a business-like approach.”
Twin brothers Issac and Israel Cruz, along with Emilio Margarito, are top returnees who model high expectations.
“Those guys get it. The trick is getting some of the younger guys to. Like we’re starting a freshman and a sophomore. But a lot of new players are buying into the culture those older guys set. It’s good to see.”
Regarding the Cruz boys, he said, “They’ve been starting since their freshman year. They’ve always been leaders. Everyone respects them. It’s just how it is.
They set the standard.”
“Same thing for Emilio Margarito. He’s a team captain now.”
Maass believes in open competition at practice. Nobody’s spot is guaranteed.
“If they don’t work hard, they’ll be called out. Every day you’re competing.”
This year even more so because of injuries.
“There’s been a lot of attrition – more than we’ve had in years. One of the things we talk about is next man up.”
That mantra’s extended from preseason tryouts for open spots to now and it’s already paid dividends.
With returning goalkeeper Adrian Feliz out due to injury, his spot came down to two players until one quit. That gave the job to Jeramiah Gonzales, whose brilliant opening weekend performance included a shutout of Burke in his first career start, followed by five stops of penalty kicks in a shootout against South Sioux City.
“Extraordinary,” is how Maass described what Gonzales did. “I’ll probably never see it in my lifetime again.”
He said when Felix comes back, he won’t automatically step into the starter role. He’ll have to earn it.
“They will be competing every day.”
Since Maass adopted next-man-up as a team philosophy, he said, “it feels like things are working better – there’s a lot more team harmony.” He added, “Back in the day, with some hot shot kids who wanted to do things their way it caused problems. We might have won, but it wasn’t fun.”
Forward Jose Hernandez is another player who, Maass said, “gets it.” “He was promoted from the sophomore team to the varsity for the Tennessee (Smoky Mountain) tournament last year and he scored the goal that helped us beat one team. He scored the first goal at state last year coming off the bench. He knows this is what you have to do. It’s not how many minutes you get, it’s what you do with them.”
Now in his 18th year, Maass has learned patience.
“We tell our kids, ‘Don’t worry about the first few games, let’s worry about games 17-18.’ As long as we’re clicking at the end, it doesn’t even matter what we’re doing right now. We just have to figure each other out and get better every day.”
His own priorities got a reality check last year when his wife Ann, an ESL instructor at South, was diagnosed with breast cancer. Chemo treatments and a double mastectomy later, the cancer’s in remission.
“When it first hits you, your whole life just kind of spins.”
During Ann’s illness he took a more active hand in their two young children’s lives and extracurricular activities.
“I even contemplated stepping down as coach to be a better family man but at the end of the day we managed it, and here I am. I want to win games and championships but helping younger kids is probably more important after this.”
Having taken South soccer from the bottom to the top, he’s focused on maintaing excellence.
“I just want to keep it moving along.”
He readily acknowledges assistant coaches have helped South become a dynasty.
“I’m not afraid to go out and find someone who challenges me as a coach and who on top of that can run drills and do things at a higher level than myself.
“We evolve with every coach we bring in.”
By May, South aims to win its district, return to state and compete for another title. Packer coaches, players and fans expect it. But, Maass said, “the key is to get there.”
Read more of Leo Adam Biga’s work at leoadambiga.com.