NR | 1h 22m | Drama, Romance, Western | 1951
Often, after wars and conflicts end and a victor is determined, hostilities persist. After World War II ended, bombings continued in Germany, destroying cities and killing over 2 million citizens.
A similar situation unfolded after the American Civil War, waged from 1861 to 1865. Although by 1865, the war had been decided in favor of the Union, various groups continued to hunt down Confederate sympathizers, both real and imagined, in feverish acts of retaliation. This period is often overlooked or glossed over in our history books.
The 1951 Western, “The Redhead and the Cowboy,” directed by Leslie Fenton, explores this harsh reality as the narrative’s backdrop. The film offers a surprisingly insightful mix of drama, romance, espionage, and some good old-fashioned double-crosses.
Set in the New Mexico Territory of 1865, Glenn Ford steps into the dusty boots of the titular cowboy, Gil Kyle. As Kyle’s minding his own business, riding along a darkened trail, a couple of bushwhackers ambush him. They lasso Kyle off his horse and rough him up a bit, only to realize they’ve mistaken him for their intended target, who soon rides by. Realizing their error, the bushwhackers take off in pursuit of their new quarry.
Though rattled and roughed up, Kyle manages to ride into a nearby town and heads straight for the local saloon. His beeline to the bar is interrupted by the stunning Candace Bronson (Rhonda Fleming), a redhead whose vibrant hair color you'll have to imagine in a black-and-white picture. The two exchange a bit of flirty banter before she returns to her table.
Kyle’s troubles from earlier in the evening seem to be behind him as he orders a bottle of whiskey. But a group of scruffy characters surround him, insisting he join a toast to the glorious Union Army and their recent victory over the Confederacy. They refer to Confederate sympathizers as “copperheads,” likening them to the venomous snake.
Before tensions can escalate into a full-blown brawl, the town sheriff (Morris Ankrum) steps in and defuses the situation. Soon after, Dunn Jeffers (O’Brien) befriends Kyle. The two men bond over Kyle’s triple coin toss, determining who will buy the next round of drinks. Candace, who has been observing them, is intrigued by Kyle’s unusual coin toss. However, when she later asks him an a strange question and he fails to give a satisfactory answer, she grows cold.
Things take a darker turn when Kyle stumbles upon a murdered man in a backroom and becomes the prime suspect. As he struggles to clear his name, he encounters a shady characters with hidden agendas, including guerrilla holdouts, bloodthirsty posses, and, of course, the elusive and enigmatic redhead Candace.
What began as a standard early 1950s western gradually evolves into a much more intriguing Civil War espionage mystery. I can’t recall another western with these themes. After watching countless barfights, range wars, and wide-street shootouts, it’s a refreshing reprieve.
Ford is convincing as an easy-going cowpoke whose simple life of riding horses, working hard on the range, and enjoying a shot or three of whiskey is upended when he catches the eye of the redhead. Ford’s character perfectly embodies the American archetype. This is a man who is strong and masculine, yet calm and good-natured. He’s just trying to go about his life, but if you mess around with him, you’ll definitely see a different side.
Character actor Edmond O'Brien lends ample talent to the interesting tale as a purported cow buyer who seems to be a Southern sympathizer. He has a subtle way of making his character Jeffers seem believable. In one immersive scene, Jeffers slyly exchanges information with Kyle while munching away on some leftover breakfast and coffee, his fork dangling around in his fingers.
Fleming is also convincing as Ford’s mysterious love interest. She seems at once drawn to him, yet elusive. The delicate features of her face and graceful movements hint at a gentle woman who may be caught up in forces beyond her control. Yet, she’s strong-willed when she needs to be.
The setting plays a crucial role in enhancing the film’s atmosphere. The New Mexico Territory is vividly portrayed, and its rugged landscapes, parched deserts, and dusty settlements effectively capture a bygone era. The cinematography reflects the vast, harsh environment, mirroring the characters’ struggles and conflicts.
The film succeeds by diverging from the typical Western formula, integrating elements of espionage and intrigue to create a cinematic tapestry that’s engaging and multifaceted. Its expert pacing maintains suspense and momentum as the story unfolds in unexpected ways.
“The Redhead and the Cowboy” demonstrates how a well-crafted narrative breaks from the standard western mold.
