For novices trying to delve deeper into the genre, westerns can be a bit difficult to navigate through if only for how similar many of the titles can be. These films have their tropes that can be found in title after title, but occasionally you have something a bit different that pops up to breathe some life into the genre. Anthony Mann is one of the most well-known directors to work within the field, but it is his first entry into the genre that stands apart as something radically different than what was being released at the time. The Furies was based on a 1948 novel of the same name by Niven Busch that not only gave a more substantial role to a woman than most westerns, but used that role to tackle some psychological themes that would make censors of the time look askance. Barbara Stanwyck would build on the success of youthful roles in films such as Double Indemnity and Stella Dallas with something more assured alongside the great Walter Huston (Dodsworth) in his final film performance. The picture was a financial bust at the time, but its reputation amongst more discerning cinephiles has only grown over the years.
There is a sprawling area of the New Mexico territory known as The Furies that is presided over by the notorious Temple Caddy “T. C.” Jefford (Walter Huston), an arrogant, elderly man who treats his land like a kingdom. T.C. is a larger than life personality who is obsessed with dominating everything in his atmosphere, but there are some things he cannot rule over so easily. Namely, his beloved daughter Vance (Barbara Stanwyck), who has a dynamic with her father that is positively Freudian. Vance is not some shrinking violet; she is the daughter of the great T.C. Jeffords and as such she wields some cutting power of her own. Vance is treated more like a son than his actual son who only briefly makes an appearance to express his displeasure over his sister exerting her dominion over their departed mother’s space. T.C. is the master of his domain, but Vance is the not-quite whispering presence guiding him to certain preferred outcomes. For example, the treatment of the Herrera family, a group squatting on the The Furies that T.C wants ousted but lets slide time after time on the pleas from Vance, who has a close relationship with childhood friend Juan (Gilbert Roland).
It is a time of great change at The Furies. Vance has been raised to eventually take over The Furies, a place she loves with a notable passion, but she is also in need of a suitor to run it with her – you cannot expect any differently from these times. T.C would like a say in who his daughter ends up with, but Vance has her mind on her own happiness, and she has her sights set on Rip Darrow (Wendell Corey, Holiday Affair). The only problem is, Darrow is in a land feud with T.C. that is not likely to be settled until one of them is six feet underground. For all that the film does right, it is Vance’s relationship with Darrow that is the most perplexing. In short, Darrow is without charm and is an abusive jerk, both psychologically and physically. To believe that he would have any appeal to a woman like Vance feels like quite a stretch for the audience. Stanwyck delivers another in a long string of wonderful performances, but even she cannot save this underdeveloped thread within the film. Mann is known for shining a spotlight on the underrepresented so one wishes the relationship with Juan could have been explored a little more fully, but his arc needed to serve other purposes.
While there are various relationships at play within the film, none can hold a candle to the one between T.C. and Vance. Judith Anderson (The Ten Commandments) makes a small but pivotal impression as Flo Burnett, a potential romantic partner for T.C. that steps into a hornet’s nest with Vance. There are elements of a shocking thriller at points throughout the movie that further drive home how different this western is compared to most. The thin line between love and hate is the backbone of this film, as the cunning and devious Vance gets into a psychological sparring match with the magnanimous T.C., a man so self-involved that he creates a form of currency called “T.C. notes” that are meant to supplant dollars. Huston makes the most of his final performance, as you find yourself both fascinated by T.C. and hating his guts in equal measure. The stunning turn from Stanwyck is the reason to watch this one, though. She is working on a level seldom seen for women in this genre, and it is a blast to witness. Ultimately, the film does not have the stomach to land all the punches it needs to drive home the morally complex finale it is attempting, but there is enough psychological manipulation and intrigue throughout that this should prove to be entertaining for longtime fans of westerns and newcomers alike.
Video Quality
The Furies makes its Blu-Ray debut thanks to the Criterion Collection in its original 1.33:1 with a 1080p digital restoration that appears to be from an older scan. While the film overall looks quite strong, you cannot help but negatively compare it to other films from the period that have received fresh 2K and 4K scans that look worlds better. The gorgeous black-and-white photography is mostly stable with the occasional density fluctuation. The transfer has natural grain intact that resolves well without being clumpy. There is a decent amount of detail present with nice textures on the clothing and within the production design. The transfer shows off a good amount of depth and enhanced detail within the film’s composition. Black levels are not as deep as you would wish and there is a mild amount of crush and compression artifacts. The contrast experiences a minor amount of flicker and specks of damage pop up in the print. The Criterion Collection has made a good effort here, but a fresh scan would have been much preferred.
Audio Quality
The Blu-Ray comes with a solid LPCM 1.0 audio track that serves this movie incredibly well with a pleasing fidelity. Dialogue and background noises are represented in perfect harmony with all competing elements. This track does present with a minor amount of age related wear and tear including some faint hissing and crackles that likely date back to the source elements. The music from Franz Waxman never overpowers the dialogue or other important information. There are optional English (SDH) subtitles included for the feature film. The good folks at the Criterion Collection have done their best to prove the most stable track possible for this one.
Special Features
The Criterion Blu-Ray of The Furies includes a substantial booklet featuring the 2008 essay “Mann of the Western” by critic and professor Robin Wood, in which he discusses the themes and importance of the film. This booklet also contains an interview with director Anthony Mann conducted by Charles Bitsch and Claude Chabrol which was published in Cahiers du cinema in March 1957. In this piece, Mann very frankly discusses his career in great detail from his early work as an actor in the theater to working with Jimmy Stewart and various comparisons and critiques of other Hollywood works. It is fascinating to get an honest account from this time. Finally, the original Niven Busch novel “The Furies” is included in its entirety. All of these works provide a great amount of context and insight into the film that is so worthwhile. The on-disc special features are as follows:
- Audio Commentary: Film Historian and western scholar Jim Kitses gives a very informative and thought-out commentary track that delves into both the technical and thematic elements of the film. The track can be a bit dry at times, but the content is pretty great and helpful for understanding the landscape this film was released into at the time. Worth a listen to fans of the film.
- Anthony Mann: A 17-minute interview conducted in 1967 for the British television series The Movies in which the acclaimed director delves a bit into his personal history, his early inspirations, the importance of visuals in film, his preference for shooting on location, the lack of exaltation at the end of his films and more.
- Radical Classicism: A nearly 30-minute newly-created featurette in which critic Imogen Sara Smith dissects the themes of the film including its relation to Greek tragedies, the blending of modern psychological concepts into the genre, the intensity and violence of Anthony Mann films, the tearing down of the mythology of frontier heroes and more.
- Walter Huston: A 9-minute interview from 1931 for the movie-theater series Intimate Interviews in which Dorothy West discusses the craft of acting with Walter Huston. This is a staged interview the likes of which we do not get these days. This almost appears to be a scene from a film, but there are some interesting tidbits that make it worth checking out.
- Nina Mann: A nearly 18-minute interview from 2008 with Anthony Mann’s daughter, Nina, reflects on the work of her father and her appreciation for The Furies in particular. It is nice to get a more modern personal account about the film.
- Trailer: The two-minute trailer is provided here which plays up the sweeping, lawless nature of the film and the impressive cast.
Final Thoughts
The Furies is an atypical western that focuses on complex psychological dynamics rather than straightforward interpersonal conflicts between opposing forces. Anthony Mann impresses with his adaptation of this story, but it is Barbara Stanwyck who steals the show with her nimble performance. The film is not perfect, but it is a notable entry in the westen genre that is worth your time. The Criterion Collection has released a new Blu-Ray with a fairly strong A/V presentation and some good special features. A fresh new 4K scan would have been preferred, but fans of the film will be happy to get this one in high definition. Recommended
The Criterion Collection edition of The Furies will be available to purchase on April 20, 2021 on Blu-Ray and DVD.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: The Criterion Collection has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
