In a brief span of four years, from 1956 to 1960, Director Budd Boetticher, writer Burt Kennedy and actor Randolph Scott collaborated on a series of seven “chamber westerns” which rank as one of the most rewarding achievements in the art of American Cinema.
While a number of prominent film critics, historians and luminaries have rightly praised the “Ranown” series (named after Boetticher’s production company), attention is often paid to the fact that Boetticher produced the series on a shoestring budget. Thus, despite praise, the series and Boetticher himself are relegated to a second tier, “B” level, as if the monies poured into these films somehow affect and dictate their intrinsic value.
To the contrary, the Boetticher/Kennedy/Scott westerns are in every way equal to the larger budgeted collaborations of Ford and Wayne, Daves and Ford, Leone and Eastwood.
With these sparse, psychologically complex works, Boetticher did as much for the American western as Val Lewton did for the American Horror film in the 40’s.
The breakthrough Seven Men From Now (1956) was a long way from Ken Maynard’s white hat and bottle of milk atop a horse named Tarzan. It’s also far more aesthetically modernist, more taut, more complexly developed in character than the later, ultra-stylish westerns of Peckinpah and Leone (the exception being Peckinpah’s slightly overrated Ride the High Country, also starring Randolph Scott with Joel McCrea). Very few films in the genre can boast as richly developed characterizations. The Delmer Daves/Glenn Ford films along with the Anthony Mann/James Stewart cannon can arguably be mentioned in the same breath. Continue reading “THE EXQUISITE CHAMBER WESTERNS OF BUDD BOETTICHER”