| Shane | |
|---|---|
.jpg) Theatrical release poster | |
| Directed by | George Stevens |
| Screenplay by | |
| Additional dialogue by | Jack Sher[1] |
| Based on | Shane (1949 novel) byJack Schaefer |
| Produced by | George Stevens |
| Starring | |
| Cinematography | Loyal Griggs |
| Edited by |
|
| Music by | Victor Young |
| Distributed by | Paramount Pictures |
Release date |
|
Running time | 118 minutes[2] |
| Country | United States |
| Language | English |
| Budget | $1.5 million[3] |
| Box office | $9 million (U.S. and Canada rentals)[4] |
Shane is a 1953 AmericanWestern film directed and produced byGeorge Stevens and starringAlan Ladd,Jean Arthur,Van Heflin,Brandon deWilde andJack Palance.[5][6] The screenplay, written byA. B. Guthrie Jr. (with contributions fromJack Sher),[6] is based on the 1949novel of the same name byJack Schaefer.[7] Set in theWyoming Territory in 1889, the film follows the titular character, seemingly a drifter with a mysterious past (who turns out to be agunfighter) who becomes embroiled in a conflict between poor homesteaders and wealthy ranchers.[8] The novel and film were both inspired by theJohnson County War (1889–1893).[8]
The film was released byParamount Pictures on April 23, 1953.[9][10] It was both a critical and commercial success, and was noted at the time for itsTechnicolor landscapecinematography, editing, performances, and contributions to the genre.[5] It was also the last feature film and the only color film of Arthur's career.[11]
Shane was nominated for fiveAcademy Awards, includingBest Director, winning forBest Cinematography – Color (Loyal Griggs). It was listed as number 45 in the 2007 edition ofAFI's 100 Years...100 Movies list, and number three onAFI's 10 Top 10 in the Western category.[12] In 1993, the film was selected for preservation in the United States'National Film Registry by theLibrary of Congress as being "culturally, historically, or aesthetically significant".[13]
Shane, a laconic but skilledgunfighter with a mysterious past,[5] rides into an isolated valley in the sparsely settledWyoming Territory in 1889. A drifter, he is hired as a farmhand by hardscrabble rancher Joe Starrett, who is homesteading with his wife, Marian, and their young son, Joey. Starrett tells Shane that a war of intimidation is being waged on the valley's settlers. Though they have claimed their land legally under theHomestead Acts, a ruthless cattle baron, Rufus Ryker, has hired various rogues and henchmen to harass them and force them out of the valley.
Shane goes to town alone to buy supplies at Grafton's, a general store with an adjacent saloon. Shane enters the saloon, where Ryker's men are drinking, and orders a soda pop for Joey. Chris Calloway, one of Ryker's men, ridicules and taunts Shane by throwing his drink on him, but Shane ignores him and leaves. On Shane's next trip to town with the Starretts and other homesteaders, he fights and defeats Calloway, and then he and Starrett win a bar room brawl against most of Ryker's other men. Ryker promises the next fight will be with guns. Ryker hires Jack Wilson, an unscrupulous and notoriously skilled gunfighter. Joey admires Shane, much to his mother's chagrin, after Shane demonstrates his shooting skills.
Frank "Stonewall" Torrey, a hot-tempered ex-Confederate homesteader, is taunted into drawing his gun by Wilson, who then shoots Torrey dead outside the saloon. At Torrey's funeral, the settlers discuss abandoning their struggle and leaving the valley, but after witnessing one of their homesteads being destroyed in a fire set by Ryker's men, they find new resolve to continue the fight. Ryker concludes Starrett is primarily responsible for their resolve.
With the purpose of killing him, Ryker invites Starrett to a meeting at the saloon, ostensibly to negotiate a settlement. Calloway, no longer loyal to Ryker, warns Shane of the double cross. Resolved to protect Starrett from an ambush, Shane intervenes, even knocking Starrett unconscious to save him. Shane rides to town with Joey following on foot to watch the fight. Shane kills Wilson, Ryker, and Ryker's brother, but is injured. Outside, Shane sees Joey, who notices that Shane is bleeding. Shane bids farewell and rides out of the valley, ignoring Joey's desperate cries of "Shane! Come back!"
Shane was expensive for a Western movie at the time with a cost of $3.1 million.[14] It was the first film to be projected in a "flat"widescreen 1.66:1 ratio, a format that Paramount invented to offer audiences a wider panorama than television could provide.[15]
Although never explicitly stated, the basic plot elements ofShane were derived from the 1892Johnson County War inWyoming, the archetypal cattlemen/homesteaders conflict, which also served as the background forThe Virginian andHeaven's Gate.[16] The physical setting is the high plains nearJackson, Wyoming, and many shots feature theGrand Tetonmassif looming in the near distance. The fictional town and Starrett homestead were constructed for the film nearKelly, in theJackson Hole valley, and demolished after filming was completed. One vintage structure that appeared briefly in the film, the Ernie Wright Cabin (now popularly referred to by locals as the "Shane Cabin") still stands, but is steadily deteriorating due to its classification as "ruins" by theNational Park Service.[17]
Alan Ladd disliked and was uncomfortable with guns; Shane's shooting demonstration for Joey required 116 takes.[18] A careful review of Shane's gun-skill demonstration to Joey shows Alan Ladd firing with his eyes closed. Later, in the saloon battle, Ladd's pistol is pointed well away from the man he shoots, especially the final scene—where he kills Ryker's brother. Jack Palance was nervous around horses, and had great difficulty with mounting and dismounting. After very many attempts, he finally executed a flawless dismount, which Stevens then used for all of the Wilson character's dismounts and—run in reverse—his mounts as well. Palance looked so awkward on horseback that Stevens was forced to replace Wilson's introductory ride into town astride his galloping horse with Palance riding at walking pace.[19] Stevens later noted that the change actually made Wilson's entrance more dramatic and menacing.[20]
The final scene, in which the wounded Shane explains to a distraught Joey why he has to leave ("There's no living with a killing"), was a moving moment for the entire cast and crew, except Brandon deWilde. "Every time Ladd spoke his lines of farewell, deWilde crossed his eyes and stuck out his tongue, making Ladd laugh. Finally, Ladd called to the boy's father, 'Make the kid stop or I'll beat him over the head.' DeWilde behaved."[19]
Director George Stevens originally wantedMontgomery Clift andWilliam Holden for the Shane and Starrett roles; when both proved unavailable, Stevens asked Paramount executiveY. Frank Freeman for a list of available actors with current contracts; within three minutes, he chose Alan Ladd, Van Heflin, and Jean Arthur.Shane was Arthur's first cinematic role in five years, and her last, at the age of 50, though she later appeared in theater, and a short-lived television series. She accepted the part at the request of Stevens, who had directed her inThe Talk of the Town (1942) withCary Grant andRonald Colman, andThe More the Merrier (1943) for which she received her onlyOscar nomination.[21]
When asked if he enjoyed the movie, the author ofShane, Jack Schaefer, replied, "Yeah, I did, all except for that runt", referring to the five-foot-six-inch (168 cm) Ladd.[22] In 1989, Schaefer told the Oberlin alumni magazine that hisShane character was supposed to be a "dark, deadly person" whom he had hoped would be played byGeorge Raft.[23]
Although the film was shot using the standard 1.37:1Academy ratio, Paramount pickedShane to debut its wide-screen system because it was composed largely of long and medium shots that would not be compromised by cropping the image. Using a newly cut aperture plate in themovie projector, and a wider-angle lens, the film was exhibited in first-run venues at an aspect ratio of 1.66:1. For its premiere, the studio replaced the 34-by-25-foot screen inRadio City Music Hall with one measuring 50 feet wide by 30 feet high.[24][25] Paramount produced all of its subsequent films at that ratio until 1954, when it switched to 1.85:1.[15]Shane was originally released in April 1953 with a conventionaloptical soundtrack, but as its popularity grew, a new three-track, stereophonic soundtrack was recorded and played on an interlocking 35 mm magnetic reel in the projection booth.[26]
Stevens wanted to demonstrate to audiences "the horrors of violence". To emphasize the terrible power of gunshots, he created a cannon-like sound effect by firing a large-caliber weapon into a garbage can. In addition, he had the two principal shooting victims—Palance and Elisha Cook Jr.—rigged with hidden wires that jerked them violently backward when shot. These innovations, according to film historian Jay Hyams, marked the beginning of graphic violence in Western movies. He quotesSam Peckinpah: "When Jack Palance shot Elisha Cook Jr. inShane, things started to change."[16]
That's just what I need – to get advice from a guy who never sawShane.
Shane premiered in New York City atRadio City Music Hall on April 23, 1953,[25] and grossed $114,000 in its four weeks there.[27] In all, the film earned about $9 million intheater rentals from the United States and Canada.[4] By one estimate, that translates into about $20 million in actual box-office receipts.[28]
Bosley Crowther called the film a "rich and dramatic mobile painting of the American frontier". He continued:
Shane contains something more than the beauty and the grandeur of the mountains and plains, drenched by the brilliant Western sunshine and the violent, torrential, black-browed rains. It contains a tremendous comprehension of the bitterness and passion of the feuds that existed between the new homesteaders and the cattlemen on the open range. It contains a disturbing revelation of the savagery that prevailed in the hearts of the old gunfighters, who were simply legal killers under the frontier code. And it also contains a very wonderful understanding of the spirit of a little boy amid all the tensions and excitements and adventures of a frontier home.
Crowther called "the concept and the presence" of Joey, the little boy played by Brandon deWilde, "key to permit[ting] a refreshing viewpoint on material that's not exactly new. For it's this youngster's frank enthusiasms and naive reactions that are made the solvent of all the crashing drama in A. B. Guthrie Jr.'s script."[29]
Woody Allen has calledShane "George Stevens' masterpiece", on his 2001 list of great American films, along withThe Treasure of the Sierra Madre,White Heat,Double Indemnity,The Informer, andThe Hill.Shane, he wrote, "is a great movie and can hold its own with any film, whether it's a Western or not."[30]
Onreview aggregator websiteRotten Tomatoes,Shane has a 97% critical approval rating, based on 39 reviews.[31]
| Award | Category | Nominee(s) | Result | Ref. |
|---|---|---|---|---|
| Academy Awards | Best Motion Picture | George Stevens | Nominated | [32] |
| Best Director | Nominated | |||
| Best Supporting Actor | Brandon deWilde | Nominated | ||
| Jack Palance | Nominated | |||
| Best Screenplay | A.B. Guthrie Jr. | Nominated | ||
| Best Cinematography – Color | Loyal Griggs | Won | ||
| British Academy Film Awards | Best Film | Nominated | [33] | |
| Best Foreign Actor | Van Heflin | Nominated | ||
| Directors Guild of America Awards | Outstanding Directorial Achievement in Motion Pictures | George Stevens | Nominated | [34] |
| National Board of Review Awards | Top Ten Films | 2nd Place | [35] | |
| Best Director | George Stevens | Won | ||
| National Film Preservation Board | National Film Registry | Inducted | [13] | |
| New York Film Critics Circle Awards | Best Director | George Stevens | Nominated | [36] |
| Online Film & Television Association Awards | Film Hall of Fame: Productions | Inducted | [37] | |
| Writers Guild of America Awards | Best Written American Drama | A. B. Guthrie Jr. | Nominated | [38] |
The 1966 TV seriesShane starringDavid Carradine was directly based on the film.
The 1980Japanese filmA Distant Cry from Spring (遙かなる山の呼び声) features a similar plot.[39]
The 1971Indian filmDoor Ka Raahi was also based and adapted from this film. Famous playback singerKishore Kumar directed this film, and he was heavily influenced from this film.
In 1981, British singerKim Wilde released the song "Shane" as the B-side to her single "Chequered Love". The lyrics, written by Wilde's brother Ricky and her father Marty, deal with the impressions of the movie[40]
The 1982 Italian comic book "Ken Parker 53 - I Pionieri", published by Sergio Bonelli Editore draws inspiration from this movie. It reimagines the story of Shane, with Ken Parker as a lone hero protecting a broken settler family in the American West.
The 1984 song by Roger Waters, "The Pros and Cons of Hitch Hiking", includes the lyric "Do you remember Shane?" and the recording features interspersed audio from the film.
The 1985 song byHaustor, "Šejn" from their album "Bolero" is named after the film.[41]
The 1987 postapocalyptic movie,Steel Dawn, closely follows the plot ofShane, according to Walter Goodman ofThe New York Times.[42]
In his 1997 albumArizona Bay,Bill Hicks parodies Jack Palance's role in Shane with track 8, "Bullies of the World", likening an unspecified "we", the arms-producing countries, to Jack Wilson taunting the farmer to "pick up the gun".
In the 1998 action thriller filmThe Negotiator, the two leading characters have a discussion about Western genre films,Shane in particular. Arguing about the ending, Chris Sabian says Shane died, and Danny Roman says "he's slumped 'cause he's shot. Slumped don't mean dead."[43]
Shane was the first film comedianBilly Crystal saw in theaters. In his autobiography and stage show700 Sundays, he describes the experience of seeing the film with family friend and babysitterBillie Holiday, and having an emotional reaction to the final scene.[44] Crystal later starred alongside Palance inCity Slickers.
In the 2013 Hallmark seriesSigned, Sealed, Delivered, "Shane, come back", was referenced.
The 2017 superhero filmLogan features characters watching scenes from the film, with lines from the film directly quoted.
In 2006,Shane was the subject of litigation inJapan involving itscopyright status in that country. Two Japanese companies began selling budget-priced copies ofShane in 2003, based on a Japanese copyright law that at the time protected cinematographic works for 50 years from the year of their release. After the Japanese legislature amended the law in 2004 to extend the duration of motion picture copyrights from 50 to 70 years, Paramount and its Japanese distributor filed suit against the two companies. A Japanese court ruled that the amendment was not retroactive, so any film released during or prior to 1953 remained in the public domain in Japan.[45]
Cliff Robertson appears as the villain Shame (a takeoff on Alan Ladd's western hero,Shane, 1953)
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