NR | 1h 40m | Drama, Romance, Western | 1947
After witnessing John Wayne’s sizzling chemistry with Marlene Dietrich in “Seven Sinners” (1940) and “The Spoilers” (1942), I was curious to see how he would fare alongside Gail Russell.
Russell was a rising star, frequently making headlines not just for her talent but for the almost otherworldly appearance. The industry fixated on her delicate features and soft presence, creating an image both alluring and, ultimately, overwhelming for the young actress. Though her time in Hollywood was tragically brief, Russell left behind performances that demonstrated a quiet but striking screen presence.
A Conflicted Recovery
After a bullet is removed from his body, Quirt drifts in and out of consciousness at the Worth home. Despite deliriously rambling about his past, including other women, Penelope remains by his side.Her unwavering interest in a man so opposite to her peaceful upbringing sets the foundation for a story built on contrast: a hardened outlaw shaped by violence and a woman who sees past it, determined to reach the redeemable soul beneath the scars.
The simplicity of the Quaker’s existence and Penelope’s unwavering kindness provide a respite to the chaos Quirt has known. However, despite the comfort of this new life, the shadows of his past continue to haunt him.
Quirt learns that a neighbor, Frederick Carson (Paul Hurst), has selfishly cut off the town’s water supply. Quirt rides out to confront him in the only way he knows—through intimidation. To his surprise, he finds that he doesn’t need to resort to violence.
Striving to be a Better Person
Quirt’s peaceful life is constantly undermined by the return of old threats. Marshal Wistful McClintock (Harry Carey) patiently waits for Quirt to slip up, eager to bring him to justice for past crimes.Meanwhile, Laredo Stevens (Bruce Cabot), a ruthless land-grabber, appears on the scene, pulling Quirt back into the dangerous world he’s trying to escape.
Amid these mounting pressures, Quirt’s growing feelings for Penelope complicate his inner conflict. He wants to be the man she believes him to be, but his past keeps resurfacing. Can he truly change, or is it too late to escape the man he once was?
The film’s balance of romance and action makes for an engaging ride. The relationship between Quirt and Penelope feels natural, built on quiet moments rather than grand gestures. For instance, instead of a typical Western heroine who bends to the will of the gunfighter, Penelope remains true to her values, challenging Quirt to rethink his own. Their dynamic is a refreshing departure from the norm.
James Edward Grant directs with a straightforward, no-frills approach, keeping the focus on the characters rather than action-packed set pieces, which include including a lively saloon brawl.
Wayne is in fine form here, delivering a more nuanced turn than his typical gunslinger roles, while Russell brings an understated charm that makes Penelope’s faith in Quirt feel genuine. Sadly, the actress would later drink herself to death at the young age of 36.
Visually, the film makes excellent use of its Western landscapes. The sweeping shots of open fields, winding dirt roads, and rustic homesteads ground the story in a world that feels lived-in and authentic. The contrast between the rugged terrain and the quiet serenity of the Quaker home reinforces the themes of change and redemption.
“Angel and the Badman” distinguishes itself from most Westerns by prioritizing character development over action.
Though it follows a well-trodden narrative path, its genuine warmth and heartfelt sincerity set it apart, making it a memorable and touching film.
