NR | 1h 49m | Drama, Romance, Western | 1950
Having made his mark with a series of compelling crime dramas like “Railroaded!” (1947) and the original “Raw Deal” (1948), director Anthony Mann embarked on a foray into Westerns during the early 1950s. This foray marked the onset of a fruitful period for Mann, and cemented his place in cinematic history.
In this tumultuous father-daughter saga, Barbara Stanwyck plays off cinematic legend Walter Huston in what is sadly his final film role. “The Furies” may initially be characterized as a story of familial warmth and guidance, but it eventually devolves into a clash of cunning manipulators (with a hopeful end).
Set amid the untamed expanse of the New Mexico Territory during the 1870s, this tale unfolds in a land where the ambitious sculpt new empires from the earth. Among these larger-than-life figures strides J.C. Jeffords (Walter Huston), an egomaniac who lords over his immense cattle empire known as the Furies Ranch, with his ambitious daughter Vance (Barbara Stanwyck).
J.C. is a widower who lavishes attention on his daughter in the absence of his late wife. This dynamic is apparent early on when, returning to the ranch from a business excursion, he presents Vance with a pearl necklace. After she tosses it aside in a mini-tantrum (pearls aren’t good enough for her), he surprises her with a shiny, jewel-encrusted necklace, which brings a smile to her face once again.
While J.C. acknowledges that he’ll be passing away soon (eerily imitating reality for Huston), and Vance is set to take over the ranch as his heir apparent, he doesn’t approve of the two suitors she’s considering for marriage. Although she’s as crafty as her father, she’s still a woman on the wild frontiers and understands that she’ll need a man to help her run things.
Vance finds herself entangled in a complex web of affection, torn between the two suitors who would never gain her father’s approval: Juan Herrera (Gilbert Roland), whose impoverished family has long resided on the Furies and are considered “squatters” by J.C.; and Rip Darrow (Wendell Corey), a local gambler-turned banker determined to reclaim a portion of his familial land that was previously absorbed into the Furies.
Vance’s plans for inheritance encounter a formidable barrier when Flo Burnett (Judith Anderson), a cunning seductress, enters the picture, intent on securing the wealth and authority linked to the estate as the prospective spouse of the elder Jeffords.
‘The Furies,’ Aptly titled
One of the first things that struck me about the film was how clever its title is. “The Furies” inherently offers various interpretations, as several key characters have deeply held strong passions. Throughout this simmering potboiler, nearly every character experiences intense emotions, contributing to the film’s enthralling exploration of relationship dynamics, which eventually culminates in a fiery crescendo.There is a somewhat unwieldy handling of its subplots, particularly concerning Vance’s love interests and Rip’s multifaceted schemes. However, I did enjoy Wendell Corey’s performance as the cold, calculating Rip. He’s an incredible actor and he did an admirable job with the script. Judith Anderson shines in a prime supporting role as Huston’s potential bride and alternate aspiring heiress of the ranch.
As I expected, the two central figures, Barbara Stanwyck and Walter Huston, command the screen during their meaty scenes together. Their interactions brim with anger, reinforcing the age-old notion that sometimes people tend to hurt those closest to them.
