Borden Chase: Red River (1949)
John Wayne as Thomas Dunson and Montgomery Clift as Mathew in Howard Hawks' Red River (1948) |
His
name was Thomas Dunson, born in Birkenhead across the Mersey from Liverpool, come from England God knows how. A bull of a
man. A brute of a man. Thick-necked, low-jowled, with eyes that looked out at
you like the rounded grey ends of bullets in a pistol cylinder. … Two mares
were in the traces. Quarter mares with broad hips and heavy gaskins. Built to
work; built to run. Both had been bred to the sorrel stud that followed the
wagon at the end of a tie rope. Foundation stock. Dunson’s eyes watched the
slow, rhythmic motions of the younger mare’s rump. Perhaps he was thinking of
the colt she would drop in another six months. Perhaps not. Dunson’s thoughts
were hidden things.
Ahead,
the lead wagon dipped its tongue as the team moved down the grade of a dry
stream bank.
In these opening sentences the book’s methodology is
completely contained. Sentences are atomized into cinematic fragments. There
are fine expressions which are then recycled so that we recognize them as a new epic diction. For example, we will hear
a lot more of the analogy between eyes and bullet-nubs; nearly every time that
Dunson reappears, in fact. And the best thing in the prose is its convincing use of what
sounds like authentic cattleman’s lingo (like the wagon dipping its tongue);
lingo that may, for all I know, be as sheerly invented as the epic diction.
Dunson is indeed a brute, a man without pity, a phlegmatic
deadshot, a tyrant impervious to reason. He is just about redeemed by some
consciousness of his place in history, a vision that is united with a nation’s
destiny. Having just killed a Mexican, he muses to his adopted son:
Here
I am, Mathew, and here I’ll stay. On all these lands north of the river I’ll
grow beef. Food for the bellies of every man in our country. They’ll need meat,
Mathew. They can’t build their cities without it.
This 1949 copy of Red River, tying
in with the release of Howard Hawks’ movie, is I think just re-titled from Blazing Guns on the Chisholm Trail (1946-47), the
novel from which Chase himself wrote the screenplay. But for the movie Chase
unwillingly substituted a happier ending that he despised; most movie-goers
have agreed with him. There were quite a few other changes. The roles of Cherry
Valance and green-eyed Tess are much more developed and make more sense in the
book. However, this is not to imply that the book is sensible. The west
envisaged in the book is as mad, almost, as the civil war from which Mathew
returns. The film feels compelled to supply a shred of excuse for Dunson’s
landgrabbing from the Mexicans; in the book, it is not discussed. The man went
for his gun, that’s all. So many people subsequently go for their guns that the
body-count rises bewilderingly in the course of everyday business; these are
not enemies, they are just hired hands who question Dunson’s authority. They
are always given names, but we can’t take in the names before they are dead and
buried, in one of Dunson’s punitive marshallings or in fatal swirlings of the
equally swollen river.
The underlying implication is that though the father must in due course
give way to his less brutal son, America
should reverence such fathers as this. Moralizing is inappropriate to treat the
epic appetites of these rough pioneers. Yet sometimes moralizing does cross our
path, for example about these sharpers who appear in the west with Clark
Donegal’s migrating casino:
Mathew
glanced at Donegal’s men. They were hard – hard in a
vastly different manner from the trail drivers. Theirs were the eyes of the
great vultures that sweep down from the skies to prey on dead things. Each man
wore gloves. Each wore a gun.
Hard-working western men driven by plain desire for ownership,
domination, women, money, self-preservation and sleep are OK. But these alien
leeches are another matter. Texas
is “Preyed upon by Northern carpetbaggers. Harried by the dreamers in
Congress.”
Chase (pseudonym of Frank Fowler, 1900-1971) was a leading
light of the Motion Picture Alliance for the Preservation of American Ideals.
*
By what precise route I don’t know, Chase’s epic simile about
the eyes turns up again, transmuted and varied, in the radically different context of
Alex La Guma’s amazing Capetown novella A Walk in the Night (1962), a crucial document in anti-apartheid literature. La Guma
works his similes intensively, building new constructions out of materials taken
from genre literature. Thus with the eyes.
“His eyes were small and round and brown and flat and gritty
as weathered sandstone..” (Chips, proprietor of the Jolly Boys Social Club, 9)
“Under the lowered lids the eyes were hard and flat and
shiny as the ends of cartridge shells...” (Chips, 9).
These eyes belong to the brutal Police Constable Raalt:
“their irises hard and shiny as plate-glass” (9)
“his grey-as-dust eyes” (9)
“his hard grey eyes” (12)
(officers like Raalt) “these men who wore their guns like
appendages of their bodies and whose
faces had the hard metallic look, and whose hearts and guts were merely valves
and wires which operated robots.” (12)
“Raalt’s flat grey eyes” (12)
“They saw the flat grey eyes under the gingerish eyebrows,
hard and expressionless as the end of pieces of lead pipe” (12)
Labels: Alex La Guma, Borden Chase
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