Shane (1953) is one of those films that, if someone told you the plot, you’d give it a miss. That would be a mistake, but you’d be hard-pressed to guess without actually watching the film. Even more, I’ll tell you that it’s a film that moves at the “western” pace, making sure everyone has the time to enjoy the scenery.
And yet, even modern audiences would enjoy this one–it’s that well-made and well-acted.
Every single Western cliché is present in this one. From the fair-haired, light-hatted good gunslinger to the black-haired, black-hatted bad guy (and Jack Palance, of course, is a cliché all by himself, no matter what role he plays) via the sturdy, proud farmer, his beautiful apple-pie cooking wife and the gang of dirty cowboys led by an old rancher.
But this is one of those films that reminds us why clichés are clichés. They are that way because, in skilled hands, they work spectacularly well. George Stevens was a skilled director, and this film is perfect.
Most of the time, when a family is in danger both from enemies and friends (the wife is very obviously smitten with the good gunslinger, and vice versa) a film is tense and unenjoyable in the viewing. Not this one. This one is easy to watch, flowing along despite the viewer’s knowledge that awful things could happen at any moment. It’s like the opposite of Strangers on a Train.
And it’s hard to describe why it works so well. Perhaps the title character’s laconic delivery through the entire film is what makes it, perhaps its something else that I can’t quite put a finger on, but the thing is just wonderful. It’s another of those Westerns that my wife actually enjoyed (she didn’t like one of my all-time favorites, though).
(An interesting aside, and something that not many people will talk about in the current day and age is that clichés work because they use stereotyping to function. While it isn’t politically correct to mention this – so don’t say it was me – science has studied stereotyping and found it to be one of the most accurate ways of predicting individual behavior known to man. If you don’t believe me, you can google it – ignore the political pundits, and sociologists who like to say “I know the numbers say one thing, but…” and look only at the statistically significant science – as I don’t want to completely derail this review).
A final interesting thing about this one is that the recurring character “Shame” in the 1960’s Batman series was, very obviously, lifted from here.
So go out there and watch it. It’s good, but perhaps the best lesson anyone can take from this is that sometimes, a string of clichés can be stronger than all the avant-garde, groundbreaking brilliance one can possibly dream up.
Gustavo Bondoni is a novelist and short story writer whose latest novel, Test Site Horror, is a monster-filled romp through the Russian countryside where rogue geneticists fight the Russian army while a group of journalists is stuck in the middle. You can check it out here.