Shane

“Shane” is one of the greatest Westerns and has held that assessment since it first came out in 1953. It’s near the top of most lists along with films like “The Searchers” and “High Noon”. This is because everyone involved in it was at the top of their game and believed in the picture. Paramount gave it an enormous (for a Western) 1.5 million dollar budget and assigned its top people to the project. Director George Stevens, one of the greats of the classic era, was one of those versatile directors like Howard Hawks who could handle any genre. On the surface, a director known for thirties comedies and films like “Alice Adams”, Katharine Hepburn’s breakthrough film and “Swing Time” the greatest of the Astaire/Rogers musicals would not seem to be the guy to direct a Western, but he had the skill and did it superbly. The writers of the screenplay and the book it was based on were both steeped in the genre and both wrote major Western novels. The original novel by Jack Schaefer was an expansion of his three-part serialized story, “Rider From Nowhere”, published in Argosy magazine in the summer of 1946, which contained all of the essential characters and plot elements. It stood out from the beginning for its serious tone and language in what was basically a pulp magazine. Schaefer wrote over a dozen Western novels including “Monte Walsh”. A.B. Guthrie wrote the screenplay and was brought in just for the film. He was not normally a screenwriter but a well-known Western novelist who was known for “The Big Sky” and the Pulitzer Prize winning, “The Way West”. Guthrie’s novels were usually set in the Montana-Wyoming area and he lived on a ranch in Teton County, Montana.Alan Ladd was at the peak of his career at this time. He had spent many frustrating years in Hollywood until his agent and future wife Sue Carol got him a contract and his breakout role in “This Gun for Hire” (1942). He had to fight against the industry’s ideal of the tall, dark leading man as he was relatively short (5’7”) and blond. For this reason he was paired in seven films with the 5’2” Veronica Lake, with whom he also had great chemistry. He became a major star playing tough guys in noir and action films, aided by his deep and resonant voice and ability to play troubled characters. He brings strength, mystery and a kind side to Shane, a man with an unknown past that seems to have included being a gunfighter. He’s the man with no name - we never learn if he’s using his given name - one of the archetypes of Westerns and hero tales in general.Jean Arthur had been one of the queens of screwball comedy, so she seems an unlikely choice for a Western, but Stevens had directed her in two films and liked her. Though very subdued compared to her early performances, she’s warm and tender as Marian Starrett, a more complex character than the usual pioneer mother as she is obviously very attracted to Shane but also totally devoted to her husband and child. At one point she tells her son, “He’s a fine man. Yes, I like him too, Joey” with all the nuance that the boy can’t pick up but the audience can. This was her last film role. Van Heflin is Joe Starrett, husband and father and the man who sees good in Shane and allows him to stay with the family on their homestead. He played every type of role in the 1940s and after and is convincing as the kind of man who would bring his family to settle in 1880s Wyoming Territory. Fans may notice that once again he has to see his cinematic wife dance with another man as he did in 1949’s “Madame Bovary”, only this time under more pleasant circumstances. Their son, Joey is the teller of the story in the novel and contrary to the usual movie, here is a central character who develops a hero-worshiping relationship with Shane. This is a big part to entrust to a ten-year-old child, but Brandon deWilde came through with wonderful reactions and sincerely spoken lines, especially his famous last words. He was nominated for a Best Supporting Actor Academy Award for his work (it was an honor being put in with the adults but I’d have preferred them giving one of those small statuettes they formerly awarded child actors without competition). Jack Palance had just gotten his big break in the previous year’s “Sudden Fear” and cemented his villainous image in “Shane”. He’s frightening as gunslinger Jack Wilson in his black hat as he slowly saunters into town and when he first enters the bar, even the dog gets up and leaves. He doesn’t overplay it either, being menacingly quiet much of the time and seems to find killing a game. He too was nominated as Best Supporting Actor. In a smaller role, Western stalwart Ben Johnson adds to the film as a bad guy with a change of heart.The story is set during the historic Range War known as the Johnson County War, a setting for several other films. It’s the frequently told conflict between farmer settlers and cattle barons and the issue was fences and water. (Historically this was the opposite of the usual in places from Ancient Rome to Medieval Europe where wealthy landowners increased the size of their holdings by enclosing public land with fences while here it was the farmers putting up fences, legally according to the Homestead Acts). This was a regional “war” going on in Montana and Wyoming with a mix of organized rustling gangs, wealthy and politically connected ranchers and European settlers who the ranchers didn’t mind being included with the rustlers when they began hiring gunslingers. It’s too long to go into here but eventually it even included President Benjamin Harrison sending in the cavalry to rescue gunmen who were trapped on the ranches by a posse of over 200 men sent by the State Legislature. The scope was narrowed, of course, because they wanted to make a dramatic film, not a documentary.Though the film takes the side of the homesteaders, who after all, were following the law and not hiring gunmen, it does give big rancher Morgan Riker a chance to explain the ranchers’ side, “We built the range”.A big part of the film is its magnificent location, and the cinematography by Lloyd Griggs, which was the only winner among the film’s six Academy Award nominations. It was the year of “From Here To Eternity” which won 8 of the 13 categories and was more Academy-friendly in the early 50s when Westerns were considered a lesser type of film). The jagged Tetons give the film a mythical aspect and they are almost always present in the background. They are as important here as John Ford’s Monument Valley. It’s a setting for gods and heroes, not mortal men. Finally there’s the wonderful score by Victor Young, one of his best known and most beautiful. Titled “The Call of the Faraway Hills” it’s in the earlier folk-based style of western music before “The Big Country” (1958) and “The Magnificent Seven” (1960) established Aaron Copeland-styled music as the sound of the film Western. It is open and beautiful and seems to flow all around you. It in fact, plays almost throughout the film at an almost unheard level, only asserting itself when necessary. The music absolutely soars during the tree stump scene and becomes a menacing, brassy and pounding march when Shane goes to town for the final showdown. For Marian he inserted a sweet Polish dance tune originally titled “La Varsovienne” and in 19th century America “Put Your Little Foot”, representing feminine warmth and domesticity.There is so much going on in this film and so many nice touches. It’s Joey who first sees Shane approaching while he is about to shoot a deer (we do not know yet that his rifle isn’t loaded and so are tense about it). Shane is shown to be a heroic, almost magical hero by the deer being “saved” by running away when it hears him approaching. The camera then shows Shane from Joey’s perspective in one of its most famous shots, looking up at a larger than life figure against a vast blue sky. When Shane begins to teach Joey how to handle a gun and shoot, he shows amazing dexterity with it, signaling as did his reaction to hearing Joey cock his rifle earlier, that he has far more familiarity and skill with it than even the average cowboy. Later in the scene he notes, “A gun is just a tool. A gun is as good as the man using it, Marian. No better or no worse than any tool, an ax, a shovel, anything. Remember that.” This is the only peek we get at his possible gunfighter past. It’s brought up again when Ryan tells him, “Gunfighter, your time is over.” To which Shane answers, “What about yours? The difference is I know it.” Shane is different from the homesteaders and can’t settle down with them. Within the film he feels that “There’s no living with a killing” But beyond that, as a mythic hero he’s done. He came where help was needed and now he must move on.

Cowboy stories such as Rawhide, The Cisco Kid, and this film, Shane, are what can help mold good traits in the young--and remind those of us who "grew" up with seeing the movies when they first appeared in the '50s, that courage, faith, goodness is where we want our world to emulate.

Shane is one of the greatest films made in the 1950s, featuring superb performances by Alan Ladd, Jean Arthur, and Van Heflin. The child star Brandon De Wilde was nominated for an Oscar for his moving performance. This is an old-fashioned movie in many ways, but the cinematography is stunning, truly breathtaking. The story is incredibly moving, and the musical score by Victory Young is stirring and emotional.

Fantastic film, worth watching.

I saw "Shane" as a child in the 1950s but didn't think about it much until recently. Westerns were everywhere at the time. With the saturation level and many changes in social mores, I had lost interest. I got interested in the genre through reading A.B. Guthrie's novels, "The Way West" and, in particular, "The Big Sky". This led me to the film version of "Shane" with Guthrie's screenplay. The novel by Jack Schaeffer is another Western that goes beyond genre writing.I was moved when I finally spent an evening watching "Shane". This is a beautiful film about the West, about courage, and about growing up. The cinematography of the West is outstanding, the musical score is lavish, and the acting is convincing. Most of all this is a story of a passing way of life, as the mysterious retired gunfighter Shane comes to a small Wyoming community of farmers and helps to establish them against the ranchers.I enjoyed reading the many Amazon reviews in enhancing my appreciation of the movie. The lead review, by a nameless reviewer, states perceptively: " this film is more about principles than action. It exemplifies principles and values that unfortunately have become outdated in today's society such as, character, integrity, loyalty, pride in accomplishment, persistence and the willingness to fight for what is right. It is also an excellent human interest story and succeeds in getting the viewer to love the homesteaders and hate the ranchers." I felt much the same way. Part of the reason people turned away from Westerns was a disenchantment with the values and portrayal of America they offered. Guthrie's books helped me reach this conclusion. Shane brings back an earlier America and its values, as the prior reviewer noted, and it is a voice that still has something to teach a different, more cynical time. On the same line, another Amazon reviewer noted that "Shane" followed all the conventions of the genre Western rather than offering a parody or irony,as a modern telling would likely do. This too is a strength of the film even though the movie goes well beyond genre in following the conventions of a Western.Alan Ladd offers a career-making performance as the reserved, mysterious gunfighter Shane. The cast features Van Heflin and Jean Arthur as the Starrett family whom Shane befriends. There is more than a hint of an attraction between Shane and Marian Starrett, but the relationships between the parties are honorable and husband and wife love each other. Brandon de Wilde plays the Starrett's small son, Joey, who looks on Shane as a hero. The villains of the film include Jack Palance as the hired gun of the ranchers and Emile Myer as the ranchers' leader. George Stevens directed this film which has justly become an icon. The film was an avowed attempt to create a myth of the American and Western experience which is a worthy goal for American film and literature.I enjoyed seeing "Shane" and revisiting memories of old Westerns and thinking about them differently after many years. The film is about change in cultures and individuals, loyalty, and integrity. It is also a riveting story. The movie brought back to mind a uniquely American art form and reminded me about how much of American culture has managed to blur distinctions between the popular and the highbrow. The film could be an inspiration for our polarized and fractious country.Robin Friedman

WILL RECOMMEND TO FAMILY AND FRIENDS AGAIN THANK YOU

My father loves this movie. unfortunately, he broke his dvd copy. so I bought him a new one. works great. its new and seems genuine. I'm sure it is. Didn't realize how big counterfeit dvds were until I tried to buy this movie on a different well known website.

Great movie----shane----come back Shane

Shane, like "High Noon," "The 3:10 To Yuma," "The Searchers," "The Magnificent Seven," or "Lonesome Dove," is a classic, one of those films that, when you see it for the first time, feels a bit cliched. That's because this film was the first to explicate those cliched themes. Everything that came after was the real cliche.I never thought Alan Ladd was that great an actor. And he isn't here. His Shane is a morally bankrupt killer who sees, in the homesteaders he befriends, the humanity he left behind when he strapped on his six shooter. Shane would attempt something that countless films, both Westerns & other genres, would repeat: moral redemption through association & then sacrifice.In the case of Shane, redemption takes the form of Van Heflin & his family. Heflin is a dirt farmer, but a dirt farmer who encapsulates the American Dream of going West, getting some land &, thereby, marking yourself as someone who counts. He is also a deeply moral man, one who knows what's right because of his ties to the land. He is Jeffersonian democracy's arch-type, the yeoman farmer who is the bedrock of the Republic.Jean Arthur, as Heflin's wife, is a more nuanced character. Her exposure to Shane, who, it seems, comes from some Southern gentry stock, exposes her own social standing, which is definitely superior to her husband's. This point is driven home, even to Heflin, when he sees his wife & Shane dancing. He realizes that Shane & his wife come from the same stock &, given the right circumstances, are more than suited to each other. The look on Heflin's face as he realizes this is one of the movie's high-points.As for Brandon de Wilde's character, Heflin's son, through whose eyes most of the story unfolds, he doesn't really understand what the grown-ups are fighting about, but it scares him. He sees in Shane some exotic creature that can cure what ails his parents. To live up to that expectation is one of the main causes of much of what Shane does.The movie also highlights the tension, often spilling over into violence, associated with the "settling" of the West. Ranchers & cattlemen, having established themselves on a cattle economy which in turn was dependent on almost unlimited prairie grazing, looked more than askance at "dirt farmers" who wanted to section into farms land the ranchers considered belonged to them & their cattle. Since pretty much everyone was wearing gun, the violence that ensured was inevitable.Shane is the Western version of the Knight Errant &, as such, drives the story. If you've ever wondered where the themes for many of the movies you've already watched originated, then have a look at Shane.

sublime film.Livraison ultra rapide et vendeur sérieux que je recommande.Ce bluray est un régal!

Excelente película, seguramente referencia del Jinete Pálido y mas recientemente Logan. Recomendable para los amantes del género. Esta versión en blu-ray es muy buena. Difícil de conseguir.

I have always liked the classic western of Shane. It is a real melodrama of good and evil with a brilliant visual backdrop through the film. The director shows his advanced talent in the production by including in many scenes spiritual insights that embellish the purpose of the film and bring its value to a higher level spiritually. Lots of good encounters with the young boy who holds fast the drama emotionally with strong emotional interactions with Shane and why he came into his family. Good exposure for anyone who is curious about the high the moral fiber in our character.

Films such as this set the stage for the Westerns to follow, back in the 50's and 60's Westerns were what 'Sci-Fi' has becometo today's movie fans.Often starring childhood hero's such as 'Alan Ladd' ...'Shane' is seen by many as one of the all-time 'Classic' Westerns.A drifter 'Shane' rides onto a homestead seeking only for a cup of water, the owner 'Joe Starrett' (Van Heflin) is at first suspiciousof the stranger because he seems to quick to re-act to quickly to his son 'Joey' (Brandon De Wilde) cocking his unloaded rifle.'Joe' asks 'Shane' to leave when riders approach not wanting to encourage any trouble, it's land-baron 'Ryker' (Emile Meyer) andhis men.....'Ryker' wants 'Joe' and his family along with all the other homesteader's off the lands they'd staked a claim on, he washere before them and see's the lands as his.....'Shane' hadn't left the property and stood alongside 'Joe' as 'Ryker' had his say.'Joe's' wife 'Marian' (Jean Arthur) suggests that 'Shane' share's a meal with them and beds down for the night in the barn.Some while ago 'Joe' employed help, 'Ryker' had scared them off, though 'Shane' has no roots the offer of a job and a place to stayfor a while seems like a good idea.When riding into town to collect a few supplies 'Shane' is given a cold reception by one or two of 'Ryder's' men and told by 'Calloway' (Ben Johnson) to stay away from town, 'Shane' knows the score but the retired gun-fighter walks away...this time.'Rylker' see's 'Joe' as the main obstacle in his attempt to drive the homesteaders off their lands, he's the one person holding themtogether, without him, they would all leave.'Ryker' decides to hire himself a gunman to ensure he reclaims the lands in the shape of 'Jack Wilson' (Jack Palance ( who back then still carried the name 'Walter' ahead of 'Jack' on the credits)After taunting and killing one of the homesteaders 'Stonewall' Torrey (Elisha Cook jnr) 'Joe' to keep the homesteaders from runningfor the hills decides to face 'Ryker' and his killer 'Wison' however drifter 'Shane' knows his friend cannot out-gun 'Wilson''Shane' will set out to stand alone against 'Ryker' and his hired gun.This is truly a Classic-Western from yester-year that many will remember admiring as a child perhaps....it's old-school, typical of thosethat graced our cinema's back in 1953 and beyond.There are some well-staged fist-fights along the way leading to the final showdown.Good Upgrade to the Blu-ray format.This is a two-disc set which offers viewing in 1,37:1 on disc one, 1.66:1 in either mono or stereo on disc two.(Sub-Titles for the hard of hearing)Audio-Commentary by George Stevens jr. and producer Ivan Moffat - and Video interview with scholar Neil Sinyard.Complete Lux Radio Theatre adaptation of Shane - plus original Theatrical Trailer.The package also comes with a 36-page booklet....with writings from film-criitc Penelope Huston and an unpublished interview withStevens........and more.