Let's face it, they don't make movies like they used to, and the 'Best of the Badmen' is a testament to that. Released in 1951 and directed by William D. Russell, this classic Western film stars Robert Ryan, Claire Trevor, and Robert Preston—a dream team carrying out justice with a side of grit. Set in the aftermath of the Civil War, Missouri becomes the backdrop as Union forces are going after former Confederate outlaws. But the twist? These so-called 'bad men' might just be the heroes we need— a concept that strikes fear into the hearts of modern Hollywood creators who would rather preach than entertain.
The very elements that make 'Best of the Badmen' a thrilling ride have become rare anomalies in today's cinema landscape. Firstly, there's that connection to American history and roots, something filmmakers now seem terrified of. The film revisits a time where borders were physical as well as moral, prompting tough decisions measured by something more substantial than social media likes or echo chamber retweets. While modern productions foam at the mouth to emphasize gray areas and unearned redemption arcs, this film painted justice in bold strokes of black and white, right and wrong.
Robert Ryan's performance as Jeff Clanton is as riveting as the times themselves: sincere, rugged, and unapologetic. No extra frills imposed by a politically correct checklist. Amidst ongoing pursuits and justice served frontier-style, both antagonist and protagonist channel virtues and vices without the fear of a woke brigade descending upon them with Twitter pitchforks. Society today is allergic to the kind of introspection this film spurs. It was made during a liberally-perceived 'golden era' of film, yet it dodges the superficial, disingenuous political correctness that films now wade through like a gully-washer.
Let's praise Claire Trevor for her role as Lily, in a time before female characters were forcibly molded into stereotypical strong types. She didn't need empowerment workshops to outsmart the men. She was instinctively sharp, street-smart, and layered with the authenticity you just can't coax out of a modern script brimming with patronizing subtext. Her character carries a sense of independence that arises naturally without the set-piece speeches or editorialized narratives. Trevor teaches an art that modern-day directors need to revisit.
Then there's the tone—no gloom-ridden existential dread, no motives hidden behind convoluted backstories just to justify atrocious acts. Just the straightforward marvel of the Wild West—a play of survival, friendship, love, and choices—all set against an unapologetic landscape of dust, grit, and moral confrontations. It astounds how directors of today studiously avoid such scenes that make you feel instead of think, ponder rather than protest.
And the plot, oh, how it moves! Unencumbered by laborious filler designed to compete for awards over appreciating artistry. Imagine: a movie that actually permits its audience to enjoy itself! The action, the fast-paced repartees, the relentless sense of justice served—all are feathers in the cap of a film that defiantly moves forward, steering clear of the potholes of pandering and predictability.
For those craving stories that evoke, unsettle, and satisfy, 'Best of the Badmen' stands unshaken, like a monument to a film era impervious to the superfluous. It showcases where values like integrity, consequence, and retribution were more than footnotes—they took center stage. It's a reminder of what we've lost in the smoke and mirrors of modern filmmaking.
While today's filmmakers fall head over heels to ensure maximum irrelevance, Best of the Badmen remains unmistakably relevant denying any campfire as the smoke and mirrors of modern filmmaking. Fitting that such authenticity would send tremors across the sanitized corridors of today's Hollywood, which pontificates more than it entertains.
You see, despite the modern fixation of reshuffling classics instead of crafting new narratives that hold up with the layers of societal imperatives, a film like this thrives. And thrive it will, for tomorrow's audiences searching for films that satisfy the heart and stimulate the mind. Can the same be said for the majority of modern offerings? Seems doubtful, but real cinephiles already knew that.
So if you're keen on experiencing cinema's remarkable capacity to influence and invigorate without succumbing to the tide of wokeness or blurring moral landscapes, fire up 'Best of the Badmen.' It sits as a beacon of unfiltered storytelling—a page out of cinema when it wasn't cowed by modern conformity, and much more passionate for it.