Produced and Directed by Mervyn LeRoy
Screenplay by Frank Butler
Cinematography by Harold Rosson
Music by Dimitri Tiomkin
CAST: Greer Garson (Dr. Julia Winslow Garth), Dana Andrews (Dr. Rourke O’Brien), Cameron Mitchell (Lt. David Garth), Lois Smith (Spurs O’Brien), Walter Hampden (Father Gabriel Mendoza), Pedro Gonzales Gonzales (Trooper Martinez Martinez), Robert J. Wilke (Karg)
Strange Lady In Town (1955) is, well, a strange lady in town. An odd mixture of melodrama, romance, feminism and all the usual Western riding and shooting stuff, I didn’t know what to make of it at first. Watched it a second time a couple days later and decided I really did like it. Somehow it all seems to come together.
While the picture itself is certainly interesting, and we’ll get to that in a bit, the story of its production has even more melodrama. Greer Garson had left MGM for Warner Bros. At a WB dinner party she told writer Frank Butler about her love of the Santa Fe area, and Butler put together a story of 1880 Santa Fe perfectly tailored for Garson.
Warner Bros. started construction of 34 new sets around Old Tucson and got to work on casting the picture. Dana Andrews was signed, along with Cameron Mitchell and Lois Smith (in a part Natalie Wood had tried out for). Smith had just appeared in East Of Eden (1954). Shooting began in August of 1954 in Old Tucson, with snakes having to be evicted from the sets each morning and temperatures climbing into the hundreds every afternoon. Then there were some health issues.
Mervyn LeRoy (seen above with Greer Garson): “In those days, Andrews had a drinking problem… that made my life difficult… Possibly more serious was Greer Garson’s health. She isn’t the complaining sort, so when she said she felt poorly, I knew she must have felt rotten. We called the company doctor, and he got [four] doctors from the Tucson clinic for consultation. It was unanimous; she had appendicitis. The doctors agreed she really should have the appendectomy immediately. ‘No,’ Greer said, with her red-headed stubbornness. ‘I can’t do it now. There is an entire company depending on me. They’d have to shut down for a few weeks. It wouldn’t be fair to them.’ That’s what they used to call a trouper. Every night, they piled bags of ice on her abdomen. Every day, they fed her pills and the nurse was there, sticking a thermometer in her mouth between every scene.”
Back in Hollywood, Jack Warner was having a fit, as the picture went behind schedule and over budget. Finishing their Tucson work, the cast and crew headed back to California. In October, Greer Garson was rushed to the hospital for an emergency appendectomy. Production was shut down for 27 days. During that time LeRoy filled in for an ailing/bingeing John Ford on Mister Roberts (1955).
Harry Carey, Jr.: “I don’t think he had an inkling of what Mister Roberts was, but he took over. In fact, he shares directorial credit with Ford.”
When Strange Lady In Town resumed production on Stage Two at Warner Bros., LeRoy was under pressure to get it done. Scenes taking place in Boston were struck to save time and money. The picture finally wrapped, and was previewed in February 1955. It premiered in Austin, Texas, on April 12. Greer Garson hit the road for the film, something she’d never done before. It seems to have worked. Strange Lady In Town earned back its $3 million cost and turned a healthy profit.
Garson plays a doctor from Boston who, tired of being looked down on for being a woman, heads to Santa Fe in 1880 to be near her brother (Cameron Mitchell), a lieutenant in the cavalry. She quickly butts heads with the local doctor (Dana Andrews) over how to practice medicine—and about everything else. The picture packs in everything from glaucoma to bank robbery to domestic violence to Billy The Kid (Nick Adams)—and somehow it all works.
Dana Andrews, drunk or sober, is very good here. His extended fistfight with Robert J. Wilke is one of the best scenes in the film. This may be Wilke’s slimiest villain of them all, which is really saying something. Lois Smith is excellent; so is Cameron Mitchell (he never got his due). Nick Adams doesn’t have enough screen time to make much of an impression. He’d be a lot better in The Last Wagon (1956) and wonderful in Fury At Showdown (1957). Of course, this is Greer Garson’s movie, and she carries it with ease.
Warner Archive has done it again, giving us an early CinemaScope picture exactly the way it ought to be seen: widescreen with its stereo intact. Old Tucson looks terrific (even in WarnerColor) and Dimitri Tiomkin’s score is full and rich. Strange Lady In Town is an offbeat Western, for sure. Maybe it’s not for all tastes. And though it took me a while to wrap my head around it, I came away really liking it.
Sources: A Rose For Mrs. Miniver: The Life Of Greer Garson by Michael Troyan; Take One by Mervyn LeRoy; Company Of Heroes: My Life As An Actor In The John Ford Stock Company by Harry Carey, Jr.
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