Directed by Robert Wise
Produced by Theron Warth
Screen play by Lillie Hayward
Based on the novel Gunman’s Chance by Luke Short
Director Of Photography: Nicholas Musuraca
Film Editor: Samuel E. Beetley
Music by Roy Webb
Cast: Robert Mitchum (Jim Garry), Barbara Bel Geddes (Amy Lufton), Robert Preston (Tate Billing), Walter Brennan (Kris Barden), Phyllis Thaxter (Carol Lufton), Frank Faylen (Jake Pindalest), Tom Tully (John Lufton), Charles McGraw (Milo Sweet), Clifton Young (Joe Shotten), Tom Tyler (Frank Reardon), George Cooper (Fred Barden), Tom Keene (Ted Elser), Bud Osborne (Cap Willis), Zon Murray (Nels Titterton), Harry Carey Jr., Iron Eyes Cody, Chris-Pin Martin
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In a strict chronological sense, Blood On The Moon (1948) isn’t a 50s Western. But in other ways — look, themes, etc., it fits right in with the best the 50s came up with. It also stands as maybe the finest example of film noir creeping into a cowboy movie.
Drifter Jim Garry (Robert Mitchum) gets caught up in a squabble between a big rancher, John Lufton (Tom Tully), and the local homesteaders. But there’s more to it than your usual range war plot device. It’s all part of a scheme put together by Mitchum’s old friend Tate Billing (Robert Preston) to swindle Lufton out of both his herd and his lucrative contract to supply meat to the Indian reservation. Mitchum decides he wants nothing to do with Billing’s caper and sides with Lufton and his daughter (Barbara Bel Geddes).
A fairly typical Western plot from the period. What makes all the difference is how its treated, from its look to some of the performances.
In noir-ish fashion, we watch Robert Mitchum wrestle with his conscience as he decides which side of the conflict to settle on. Nobody’s better than Mitchum at the morally ambiguous stuff. Several times he tries to just ride away, only to be pulled back in. Mitchum’s excellent as the down-on-his-luck cowhand turned hired gun, making sure his transition from drifter to hero doesn’t feel forced.
The rest of the cast gathers favorites from both noir and the Western — Charles McGraw, Walter Brennan (he did Red River this same year), Clifton Young, Tom Tyler, even Harry Carey, Jr. and Iron Eyes Cody. Robert Preston was always one of the best of the likable heels, and he’s at the top of his game here. Barbara Bel Geddes (as Mitchum’s love interest) is terrific, and Phyllis Thaxter (as Bel Geddes’ sister who’s duped by Preston) does a lot with a little.
Director Robert Wise didn’t make many Westerns. He said he wasn’t a fan of them. Maybe that’s why he approached this material, based on a Luke Short novel, the way he did Lewton horror movies like The Curse Of The Cat People (1944) and The Body Snatcher (1945) and the noir Born To Kill (1947). Whatever the reason, it works, making for a post-War Western that really stands out. Wise had a pretty funny career. The later films that he’s known for, from I Want To Live! (1958) to The Sound Of Music (1965), are so far removed from earlier pictures like this one. (Wise considered Blood On The Moon his first big feature.) For instance, compare The Day The Earth Stood Still (1951) to Star Trek: The Motion Picture (1979). The films got bigger, for sure, but not necessarily better.
Robert Wise put this picture together with producer Theron Warth, getting a top-notch script from Lillie Hayward. With the cast was assembled and the shoot approaching, there was talk of replacing Wise with Jacques Tourneur — in an attempt to recapture some of the Out Of The Past (1947) magic. Dore Schary stuck with Wise.
Everything from the shadowy noir touches and more authentic costumes (Wise studied period photographs) to the stunning Sedona locations and well-propped sets make Blood On The Moon a Western unlike any other, something truly unique — as much a character study as it is an action picture. And speaking of action, it’s got one of the damnedest saloon fights you’ve ever seen (between Mitchum and Preston).
Robert Wise: “I wanted to avoid one of those extremely staged-looking fistfights used in all the movies, where the stuntmen did this elaborate, acrobatic fighting and you saw the real actors only in close-ups. I wanted this to look like a real fight, with that awkward, brutal look of a real fight, and when it was done for the winner to look as exhausted as the loser. And Mitch was excited about this. He knew exactly what I was going for. I think he probably knew more than I did about barroom fights like this one.”
Blood On The Moon gets a huge boost from the atmospherics and deep shadows of cinematographer Nicholas Musuraca. One of the true artistes of the whole noir thing, he shot Stranger On The Third Floor (1940, considered the first film noir), Out Of The Past and Roadblock (1951). He was DP on a few of Val Lewton’s RKO horror pictures, such as Cat People (1942), The Ghost Ship (1943) and Bedlam (1946). And he shot a few of RKO’s Tim Holt pictures, giving them a look way beyond their budget. Thanks to Mr. Musuraca, Blood On The Moon is one of the best-looking B&W Westerns ever made, which makes its release on Blu-Ray something to be excited about.
This time around, Warner Archive has given us one of the best-looking B&W Blu-Rays I’ve seen. It’s clean and crisp, and the contrast levels are absolutely perfect — important in a picture that goes from snow-covered landscapes in daylight to the dark woods in the dead of night. Warner Archive is getting a lot of praise, well-deserved, for restoring 15 minutes to another Mitchum Western from 1948, Rachel And The Stranger. But seeing Blood On The Moon like this, so pristine, is a revelation. Highly, highly recommended.
SOURCE: Robert Wise quote from Robert Mitchum: Baby, I Don’t Care by Lee Server.
Awesome movie. A must watch. Howard. hfmcompanyinc@aol.com
I love this movie and Short’s novel beyond reason. So pleased to hear of what sounds like an outstanding release.
Hello fellow Western watcher. Take an afternoon and enjoy a movie with a beverage. Howard. hfmcompanyinc@aol.com
Delighted to hear this is looking as good as we all hoped it would.
Even if Wise wasn’t crazy about making westerns, he was pretty good when did turn his attention in that direction. This is one has a masterful noir tone, and there’s some of that to be found in Two Flags West too. However, I think his final western Tribute to a Bad Man is the most accomplished of them.
Terrific western, maybe up there with the very best of the genre. Plus I always enjoy films made from Luke Short novels. True class.
This movie deserves all the accolades
we can give it. Robert Wise was one of the best directors ever and his resume proves it.
Let me add PURSUED (another Mitchum)
and John Fords classic MY DARLING CLEMENTINE (extremely dark with a venomous Walter Brennan) to the growing
list of noir westerns.
I’d love to see Pursued make it to BLu-Ray in this kind of shape. A very overlooked movie.
I think I have Pursued in blu-ray. Haven’t checked it out yet though.
You’re right! Olive brought it out. I’d completely missed it, or forgotten about it.
Paging Bert Green……….
Hi Bert,I’m out of my comfort zone here but what do you know about
this new imprint Orlando Eastwood Films?
They seem to have got hold of a load of old p.d. titles but are releasing them
on Blu Ray.
There’s a old Ken Maynard title which also features Smiley Burnette,
Gene Autry and Gabby Hayes and also an early John Wayne vehicle
with Marsha Hunt and Johnny Mack Brown.
As I’ve said I’m out of my comfort zone here and no doubt these titles
have already appeared on DVD but to see this sort of stuff turn up on
Blu Ray is astounding….wonder what the quality’s gonna be like?
Toby my BLOOD ON THE MOON should arrive any day now,cannot wait.
Sadly I’ll pass on RACHAEL AND THE STRANGER the bratty kid and dog
just blew it for me.
Colin sign me up to the TRIBUTE TO A BAD MAN fan club-now that’s one
I’d really love to see on Blu Ray.
Gary at DVD Beaver has just reviewed Kino’s LONELY ARE THE BRAVE
the screen shots look sensational…so glad I held back (for once) getting
the Euro Blu Ray-black & white widescreen in high def is just so appealing.
“Orlando Eastwood’ is a new one on me, I’m afraid. For a long while, it used to seem that a new outfit would pop up every two years, specializing in PD stuff, and claiming superior quality. Even though upgrading copies of my old westerns and serials has been a neverending pursuit, I did get to the point of dismissing a lot of the hubbub with new companies and dealers, until I started hearing positive news.
Reminds me of a time I visited an antique show over twenty years ago, and amidst all the legitimate antique furniture and glassware, there was a dealer selling PD films on tape, with fancy cover art and such. I initiated a conversation with the young hotshot salesman hawking this stuff (yes! the GREATEST classic films of all time!), and he was about 20-years-old, and had absolutely zero knowledge of old films and public-domain status. It struck me as rather funny. But it also colored my wariness when it came to PD specialty outfits.
So looking forward to getting my copy of this. Regarding Nick Musuraca’s cinematography on the Tim Holt westerns — check out The Mysterious Desperado. It’s gorgeous, especially the nighttime sequences.
An official announcement of Kino’s Audiie Murphy blu box is expected in the next few days. It appears that the titles in it are DUEL AT SILVER CREEK, RIDE A CROOKED TRAIL and NO NAME ON THE BULLLET, though that all remains to be confirmed for certain.
It’s funny, I’m working on my commentary notes for Duel At Silver Creek as your comment pops up. I’m not sure what the consumer preference is for sets vs. singles on pictures like this. It’ll be interesting to see, as so many companies are doing them now, from the Shout Factory Universal horror sets to those great noir sets from Kit Parker.
I feel Kino are making a big mistake not also releasing these films
as stand alone units also and I find slipcases a total pain.
They should sell individual titles at the full rate,and they already discount
the 3 part sets.
There’s lots of films I want in their Noir sets but not everything.
As Toby says the transfer of BLOOD ON THE MOON is stellar-it’s as
good as the superb job Warners did with WAGONMASTER.
Yes, there’s an upcoming Kino ‘film noir’ set that sure made me sigh. It has “Calcutta” (1947) on it, which I’d very much like to get, but I’m frankly not too interested in the other two films. Always a danger, when these things are collected into sets.
Thanks for the feedback on the p.d. outfits the Orlando Eastwood do
say their Blu Ray’s are 4K remasters from 16mm prints,but then again it
really depends what shape the original film elements are in-I DO hope
the likes of DVD Beaver review some of the Eastwood output-I’m a bit
concerned that on the Eastwood website the films to be viewed have been
“resized” to 16×9 that does concern me.
I must say that it’s been an entire pleasure to “trade licks” with yourself
and Walter Severs your knowledge of ALL aspects of classic cinema
never ceases to amaze me-in fact I’d like to state that you two gentlemen
have forgotten more about movies than I’ll ever know.
Bert,if I may indulge you on a couple of points certainly concerning your
vast knowledge of pre code; where I am seriously lacking; I wonder if
you could give me a couple of pointers on the following forthcoming
Blu Ray releases:
AMERICAN MADNESS (1932)
A highly regarded Capra film-which certainly seems to have much
relevance today all things considered.A Blu Ray is issued next week,I
believe from Sony USA.
THE SHAKEDOWN (1929)
Coming on Blu Ray from Kino Lorber from a brand new 4K restoration
from Universal. This early William Wyler film stars James Murray and
his short tragic life makes for extremely sad reading.
Basically,Bert what i am trying to say is that it’s remarkable that these
lost classics are turning up lovingly restored in high definition.
Certainly some exciting oldies coming down the pike. “American Madness” (1932) is a fine film, and a nice surprise courtesy of Sony Archive. Also offers the opportunity of getting in blu an early appearance by Columbia starlet Constance Cummings, who toiled away at the studio to little effect, only to find greater fame (and long-lived happiness) on your side of the Atlantic, John. The early Capra effort I’d particularly like to see come out on blu, though, is “Dirigible” (1931), with Jack Holt, Ralph Graves, and Fay Wray. I don’t have a copy of it, and I haven’t seen it in thirty years. But I love that kind of stuff. Maybe Sony Archives could even dip into some of those minor little silent comedies that Capra did. I really like “The Matinee Idol” (1928) as well as “That Certain Thing” (1928). Although, “So This is Love” (1928) is a bit of a dud. I don’t want to jinx things by going into a long discourse of how I’d REALLY want some of those 1930s Buck Jones and Tim McCoy westerns on blu.
“The Shakedown” (1929) is big news. It’s made the rounds of a few film festivals in recent times, but I’ve never seen it. Truthfully, I never thought the synopsis sounded all that great (maybe because I’ve seen a few too many poverty-row ‘boxing’ films over the years; they wore me out). However, this film seemed to get a pretty enthusiastic response from all those who have seen it. So I’m really looking forward to it, alongside some of the other mysterious, unannounced 1920s Universals that Kino purportedly has in store for us. Although, I wish some could be westerns, but that doesn’t seem to be in the cards. Only the two 1910s Harry Carey titles, “Straight Shooting” (1917) and “Hell Bent” (1918). Universal was practically a ‘westerns’ factory in the silent days. Features, serials, two-reelers. Alas, almost all ‘lost.’ Really makes me sigh.
John K, l found the Eastwood YouTube channel about 12 months ago, and like you l was disappointed with widescreen versions of 1930s and 40s public domain films. A few more recent films on the channel are in correct 4 x 3, but nothing special.
Bert and Mike-
Orlando Eastwood have a whole heap of titles announced-
I hope that DVD Beaver get to review some of them so we get some
idea what the quality is like.
Yep! Buck Jones and Tim McCoy on Blu Ray an impossible dream perhaps,
as would be DIRIGIBLE.
Still,at least Sony are still releasing classic films on Blu Ray if somewhat
infrequently.
Somewhat later,but I’d love COAST GUARD on Blu Ray (Randolph Scott,
Frances Dee Ralph Bellamy.)
I’m not sure about the features, but the Buck Jones Universal serials are being released on Blu-Ray by VCI. A couple are out now and a couple are on the way — with notes in the booklet from your truly. These things look great!
Did anyone have the pleasure of attending the golden boot in Beverly hills CA. I am curious. I was blessed to be an active member. hfmcompanyinc@aol.com ♥️
John K, thank you for the kind words. I appreciate the opportunity to “Trade Licks” with you. Especially as I sit here in the “Belly of the Beast.” By that I mean, sitting here in a waiting area at the Washington University Physicians Center For Advanced Medicine at the Siteman Cancer Center in St. Louis, Missouri. I’m trying to get things straightened out concerning my wife’s latest medication. This medicine only costs $1,200 and that is with her having insurance! My wife is doing better since her stem cell transplant and we are very hopeful that her health will continue to improve and that we will finally get to go home. Her doctor requires that she stay in the area of the Barnes Jewish Hospital in St. Louis during her recovery from B-Cell PLL Leukemia, which is a very rare aggressive cancer.
I’m sitting with my mask on, as well as everyone else. COVID-19 is all around here in St. Louis, but nothing compared to the New York City areas. We are staying in a house in the Historic Dogtown Walk to the Zoo & Forest Park area. We only go out when Cheryl Lee, my wife, has her medical appointments.
Yes, I have watched a few movies and TV shows of the Classic vintage recently, although it has been a tough go in keeping my mind on them, at times. I did manage to stream, by way of Amazon Streaming, four Buck Jones Westerns(I’m sure Jerry Entract and Bert Greene can appreciate this enjoyable viewing. These Buck Oaters were: THE RANGE FEUD(1931) co-starring a 24 year-old John Wayne. THE GUNMAN FROM BODIE(1941), ARIZONA BOUND(1941), and DAWN ON THE GREAT DIVIDE(1942)). I especially liked the DAWN ON THE GREAT DIVIDE and THE GUNMAN FROM BODIE.
Well, I better close for now, because one of the Pharmacists is calling for me. Take care and to all the readers of Toby’s wonderful blog, stay healthy and safe.
Walter Severs
Thank you so much for the update Walter,
your news sounds more positive since we last heard
from you.
I totally understand your point regarding it being
hard concentrating on movies right now.
At any rate it’s always wonderful to hear from you.
Kino’s Audie Murphy blu box was formally and officially announced today.