Defeated Confederate Colonel Ben Trane (Gary Cooper) drifts south into Mexico after the Civil War, hoping to sell his services to whichever army - the Juaristas or Emperor Maximillian (George Macready) and his French allies - offers better pay. The straight-laced Trane joins up with Joe Erin (Burt Lancaster), a grinning psychopath with a multi-racial gang of American criminals, gunslingers and deserters, and they are recruited by Maximillian's lackey, the Marquis de Labordere (Cesar Romero), to protect a French countess (Denise Darcel) being transported to Vera Cruz. Along the way, Trane and Erin discover the wagon is actually carrying gold, and a complicated series of schemes, tricks, and double-crosses between the Americans, the Countess, the French troops, and Juaristas under General Ramirez (Morris Ankrum) develops. It leads to an explosive climax as Erin and Trane join forces with the Juaristas, and Trane is torn between his chivalrous nature and his desire for gold.
"Vera Cruz" is an extremely important landmark in film history. Directed by leftist filmmaker Robert Aldrich (also responsible for such films as "Apache", "Attack!" and "The Dirty Dozen"), it paints a cynical portrayal of American intervention in Latin America and depicts gunslingers as, at best conflicted individuals, at worst mass murderers. The movie's influence can be seen in any number of films: "The Magnificent Seven", which could be read as a rebuttal to Aldrich's film; the Man With No Name Westerns of Sergio Leone and Clint Eastwood; Richard L. Brooks' equally cynical "The Professionals"; and Sam Peckinpah's "Major Dundee" and "The Wild Bunch". But "Vera Cruz" is more than just a bit of cinematic history. Although a bit dry and draggy in spots, "Vera Cruz" is, for most of its length, a largely entertaining and enjoyable Western.
For a film made in 1954, during the midst of the Cold War, with the conservative Westerns of John Wayne dominating the genre, "Vera Cruz" must have come as a shock. The film's characters are anything but the traditional white-hatted, two-fisted, unequivocally good heroes. Presaging Henry Fonda's villainous turn in "Once Upon a Time in the West" (albeit not in as extreme a fashion), Western icon Gary Cooper plays a character who, as outwardly chivalrous as he appears, cares only about money and is not above betrayal or double-crossing to get it. Ben Trane only becomes a noble warrior at the very end, and is driven to it mostly by the increasingly psychotic actions of Erin. Another classic Hollywood icon, Burt Lancaster, is even more extreme. Joe Erin dons a black outfit, spins and draws his pistol for fun, and sports a charming yet disconcerting grin. He is not above double-cross, trickery, or murder (even of his sidekicks and partners) to achieve his ends. While Erin seems a mirror image of the noble Trane, he is simply an uninhibited image of Trane himself.
The film's attitude towards violence is fairly casual and shockingly blunt. In the film's most affective scene, Erin, with his men surrounded by Ramirez's Juaristas, takes a small group of children hostage and threatens to kill them unless his opponent withdraws. Ramirez nobly intones, "Wars are not won by killing children", but this is perhaps the only example of chivalry in the film. The large scale action scenes are, if not graphic by modern standards, still pretty rough for 1954. We see a Juarista shot in the face by the Countess, a captured Juarista corralled and tortured by mounted French lancers, an epic, bloody climactic battle featuring machine guns and artillery, Erin grinning as he impales a French officer (Henry Brandon) on a lance, and the film's ending, where Erin, for no particular reason, shoots his only surviving sidekick Ballard (Arch Savage Jr.) in cold blood. And yet, despite all this, the violence is portrayed in a casual and frenetically enjoyable style. It's not at all difficult to see where Leone and Peckinpah got inspiration for characters like the Man With No Name, Tuco, and Pike Bishop. In this amoral world, all that matters is survival and gold, and not necessarily in that order. And, needless to say, no one can be trusted.
On a technical level, Aldrich's handling of the battle scenes and shootouts makes for rousing good fun, almost belying the message he is pushing. The final battle in particular is a well-staged bit of action. Ernest Laszlo's beautiful cinematography captures the action scenes and the gorgeous Mexican countryside in most flattering manner. James R. Webb and Roland Kibbee script is witty, quotable and enjoyably cynical, while Hugo Friedhoffer contributes a pretty good (if unremarkable) score.
Gary Cooper gives an excellent late-career performance as Ben Trane, the Southern gentleman whose mercenary instincts and ingrained chivalry come into conflict with one another. Burt Lancaster is well-cast as Joe Erin; he might grin a few too many times and chew a bit too much scenery, but given his reputation as an athletic, lovable hero his casting as the psychotic bad guy is very unsettling and effective. Reliable character actors Cesar Romero, George Macready, Henry Brandon, and Morris Ankrum turn in fine performances as the film's antagonists. Denise Darcel and the lovely Sara Montiel are well-cast as the film's femme fatales. And if you look among Lancaster's gang, you'll see Jack Elam, Ernest Borgnine, and Charles Bronson (nee Buchinsky) in bit roles.
"Vera Cruz" is a very entertaining film. While the pacing drags at times, particularly in the middle, its amoral, violent and cynical nature makes it an interesting ride. Beyond its status as a cinematic landmark is a damned enjoyable film, regardless of what one makes of it.
8/10
"Vera Cruz" is an extremely important landmark in film history. Directed by leftist filmmaker Robert Aldrich (also responsible for such films as "Apache", "Attack!" and "The Dirty Dozen"), it paints a cynical portrayal of American intervention in Latin America and depicts gunslingers as, at best conflicted individuals, at worst mass murderers. The movie's influence can be seen in any number of films: "The Magnificent Seven", which could be read as a rebuttal to Aldrich's film; the Man With No Name Westerns of Sergio Leone and Clint Eastwood; Richard L. Brooks' equally cynical "The Professionals"; and Sam Peckinpah's "Major Dundee" and "The Wild Bunch". But "Vera Cruz" is more than just a bit of cinematic history. Although a bit dry and draggy in spots, "Vera Cruz" is, for most of its length, a largely entertaining and enjoyable Western.
For a film made in 1954, during the midst of the Cold War, with the conservative Westerns of John Wayne dominating the genre, "Vera Cruz" must have come as a shock. The film's characters are anything but the traditional white-hatted, two-fisted, unequivocally good heroes. Presaging Henry Fonda's villainous turn in "Once Upon a Time in the West" (albeit not in as extreme a fashion), Western icon Gary Cooper plays a character who, as outwardly chivalrous as he appears, cares only about money and is not above betrayal or double-crossing to get it. Ben Trane only becomes a noble warrior at the very end, and is driven to it mostly by the increasingly psychotic actions of Erin. Another classic Hollywood icon, Burt Lancaster, is even more extreme. Joe Erin dons a black outfit, spins and draws his pistol for fun, and sports a charming yet disconcerting grin. He is not above double-cross, trickery, or murder (even of his sidekicks and partners) to achieve his ends. While Erin seems a mirror image of the noble Trane, he is simply an uninhibited image of Trane himself.
The film's attitude towards violence is fairly casual and shockingly blunt. In the film's most affective scene, Erin, with his men surrounded by Ramirez's Juaristas, takes a small group of children hostage and threatens to kill them unless his opponent withdraws. Ramirez nobly intones, "Wars are not won by killing children", but this is perhaps the only example of chivalry in the film. The large scale action scenes are, if not graphic by modern standards, still pretty rough for 1954. We see a Juarista shot in the face by the Countess, a captured Juarista corralled and tortured by mounted French lancers, an epic, bloody climactic battle featuring machine guns and artillery, Erin grinning as he impales a French officer (Henry Brandon) on a lance, and the film's ending, where Erin, for no particular reason, shoots his only surviving sidekick Ballard (Arch Savage Jr.) in cold blood. And yet, despite all this, the violence is portrayed in a casual and frenetically enjoyable style. It's not at all difficult to see where Leone and Peckinpah got inspiration for characters like the Man With No Name, Tuco, and Pike Bishop. In this amoral world, all that matters is survival and gold, and not necessarily in that order. And, needless to say, no one can be trusted.
On a technical level, Aldrich's handling of the battle scenes and shootouts makes for rousing good fun, almost belying the message he is pushing. The final battle in particular is a well-staged bit of action. Ernest Laszlo's beautiful cinematography captures the action scenes and the gorgeous Mexican countryside in most flattering manner. James R. Webb and Roland Kibbee script is witty, quotable and enjoyably cynical, while Hugo Friedhoffer contributes a pretty good (if unremarkable) score.
Gary Cooper gives an excellent late-career performance as Ben Trane, the Southern gentleman whose mercenary instincts and ingrained chivalry come into conflict with one another. Burt Lancaster is well-cast as Joe Erin; he might grin a few too many times and chew a bit too much scenery, but given his reputation as an athletic, lovable hero his casting as the psychotic bad guy is very unsettling and effective. Reliable character actors Cesar Romero, George Macready, Henry Brandon, and Morris Ankrum turn in fine performances as the film's antagonists. Denise Darcel and the lovely Sara Montiel are well-cast as the film's femme fatales. And if you look among Lancaster's gang, you'll see Jack Elam, Ernest Borgnine, and Charles Bronson (nee Buchinsky) in bit roles.
"Vera Cruz" is a very entertaining film. While the pacing drags at times, particularly in the middle, its amoral, violent and cynical nature makes it an interesting ride. Beyond its status as a cinematic landmark is a damned enjoyable film, regardless of what one makes of it.
8/10