Anyone who’s given my blog even a cursory glance can tell that writing about Arizona’s film and television legacy is one of my favorite subjects. This week I’ve decided to share another one of my ASU papers that I’d written for a Film & Media class called “Arizona Identity In Western Film”. One of the main assignments during that time was to write a paper about a significant film with a 19th century Arizona setting which was outstanding as a complex psychological piece with significant character development and a memorable storyline. Unfortunately, in decades past there were too many films cluttering up the Western genre with tired, formulaic plots, and simplistic, stereotypical characters that quickly passed from memory.
Here is what I wrote in 2012 about one of the more unique and outstanding westerns of the era, titled: “3:10 To Yuma: Arizona Western Film Experience Par Excellence”.
One of the primary narrative themes of Western lore is the unceasing struggle between the forces of civilization which insist on law and order and those who much preferred the wild, untamed frontier. Many cinematic depictions of the conflicts between good and evil over the decades have mainly been simple morality tales where social order is maintained predominately through the efforts of private citizens – as the apparatus of organized, state-run law enforcement was rather weak or non-existent. Such a state of affairs was quite common in Western film generally and in Arizona specifically. With this vital aspect of Western cinema in mind, an examination of the film 3:10 To Yuma (1957) will be in order to evaluate it not merely in terms of an unaffected morality play where the hero always triumphs over the villain – which typified so many Western narratives.
Rather, 3:10 To Yuma will also be analyzed as a psychologically complex piece with an ambiguous “code of honor” through its topical representation, nuanced characters, and overall style. In terms of representation 3:10 To Yuma is a fine example of Arizona locations used to good effect in what is primarily a tense, yet leisurely unfurling tale of financial desperation for the hero/main protagonist Dan Evans (Van Heflin) who ultimately has to take sole responsibility for transporting dangerous robber gang leader Ben Wade (Glenn Ford) to justice for a stagecoach robbery and the murder of the driver.
From the opening of 3:10 To Yuma the viewer could easily get the impression of how tough it could be to scratch a living out of the harsh, “furnace like” desert atmosphere. At the start, a stagecoach is huffing along, far away on the horizon as the title song plays like a funeral dirge, suggesting that something bad is about to happen. The sense of loneliness, isolation, and vulnerability is palpable. The vast, flat landscape as seen in breathtaking, panoramic shots at the start of the film easily convey expanses which are difficult to manage…that civilization along with law and order are a fragile proposition at best. Of course, in typical Western fashion – – it does not take long for lawlessness to rear its ugly head and challenge the weak law enforcement structure. However, unlike so many of its cinematic contemporaries, 3:10 To Yuma is considerably more than a standard issue “shoot’em-up” and simple clash between the virtuous and evil, where the hero vanquishes the villain for good and all.
This narrative is considerably more nuanced regarding the main protagonist/antagonist paradigm than the average Western fare which the Hollywood studios tended to churn out (particularly of the “B” variety) much like a factory production line. The sharp black & white cinematography of the film also sets it apart from so many others in that it adds to the genuine suspense and psychological aspects of the story. The casting of the two primary characters in 3:10 To Yuma also brings a great deal to this taut face-off between the beleaguered rancher Dan Wade and the smooth, callous robber Ben Wade. Actually, the placement of Hollywood stalwart Glenn Ford in the wicked role of Wade was a surprisingly change of pace for him, yet comes off satisfactorily. Interestingly, Ford was described by film writer David Quinlan in The Filmgoers Companion as a “serious-looking Canadian actor whose determined style coupled with a lack of warmth caused him to be cast as slightly unsympathetic heroes…” (Pg. 173)
In any case, Ford was featured in numerous Westerns over the course of a long, distinguished career which spanned fifty-four years. 3:10 To Yuma is often considered to be his most critically acclaimed Western role out of a remarkable twenty-six other appearances in the genre. However, in this case 3:10 To Yuma would be a standout part in Ford’s career as it was one of his few Westerns where he was the black hat. While Ford was largely cast against type as callous killer and robber Ben Wade, the choice of Van Heflin to play the waffling, hesitant hero Dan Evans fit in well with his overall film persona. The above mentioned writer Quinlan categorized Heflin in The Filmgoers Companion correctly as: “Not able to bring much to poor leading roles, he often gave quite exceptional performances in meaty, well-written parts.” (Pg. 221) As in the case of Ford, 3:10 To Yuma was an exceptionally good part for Heflin – though he was basically playing second fiddle to Ford’s more understated, calculating scoundrel.
In comparison to many Westerns, the Yuma tale is a talky piece with a fairly low body count – considering the nature of the genre. Still, the story is effective at holding audience attention as the Evans and Wade characters display their various personality foibles that defy simple good/bad archetypes. The genuine interest and concern that Wade takes in Dan Evans and his family in certain scenes defies ready categorization. Nonetheless, our first introduction to these two antagonists gives the understandable impression that Evans is not going to be much of a force to reckon with against Wade – let alone express much complexity that will help propel the story along. If anything, it initially seems that Evans will be a fairly stock character well known to Westerns in which he is the small-time, struggling farmer or rancher who is harried and victimized by the equally familiar trope of the bullying outlaw whose rapacious ways run completely roughshod over the local populace – until the real hero steps in to save the day.
Indeed, at the start of 3:10 To Yuma Evans and his two young sons are seen watching passively on a hilltop overlooking the dusty trail as Wade and his gang overtake and stick up a Butterfield Line Stage on its way to Bisbee. Though his two boys try goading Evans into taking action against this lawless episode – he knows full well that he is utterly outnumbered and should not act rashly and be gunned down himself, as he is totally responsible for the welfare of his children and wife at home. Still, Evans appears cowardly in front of the boys who are oblivious to the danger they face. At this early point in the story, the audience could get the understandable impression that Evans will largely be a peripheral character who will end up being killed off fairly soon or may become part of a bumbling, ineffectual posse later on.
Nevertheless, the very real, jarring sense of helplessness is accentuated as Evans and his sons witness Wade callously shoot down both the stage driver – and one of his own gang, whom the driver attempted to use as a human shield in an attempt to foil the robbery! While our impression of Evans is of a retiring (if not completely cowering type), Wade is cool as a cucumber during the robbery and shooting, but by no means lacks a commanding presence. It should also be noted that one of the stage passengers is the prominent Mr. Butterfield himself – – whose exalted status as president of the stage transport company does nothing to prevent him from becoming a crime victim. This hold-up to seize the gold being transferred, serves as a chilling reminder that the forces of civilized society – of which law enforcement and the attendant judiciary arms are a vital component, are a sorely lacking presence in the rough and tumble Arizona territory.
On this ominous note, I will continue with the conclusion of my story next week in Part Two as this post has already been long enough!
