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The Ox-Bow Incident Customer Reviews (10 - 12 of 16 Reviews)

A masterpiece! FULL SKULL BABY!

What are the last consequences about a crowd who decide to lynch a man?
Notice this film is made in just the middle of WW2. William Wellman made a timeless script about the no sense and the unthinkable behavior of a crowd in a small town who have decided in the name of a collective honor code to make justice by themselves.
You must have noticed that in the most of the cases the human being acts due the passion instead the reason. And that's the nucleus of the film . The concept of justice can not associate just because the number by itself imposses . This a warning for all of us .
Since the collective memory is weak and their feelings are always under the reason , you may inquire the reason must prevail. But beware. The point to remark is that the passion must under the reason's service .
In 1935 Fritz Lang made his first film in USA titled Fury with a closest script.
A powerful and timeless film!

A BEAUTIFULLY ACTED & REALISTIC WESTERN FULL SKULL BABY!

A cowboy is unable to prevent three wandering travellers from being unjustly lynched for murder. One of the great Westerns to date, THE OX-BOW INCIDENT - based on an actual event occuring in 1885 Nevada - is a powerful and ugly portrait of mob violence that equals majestic Greek tragedy. This is a Wellman masterpiece, shown through a glass darkly or not, one where he uncannily penetrates the psyche of his characters with brilliant exposure. The whole film is coated with shadow (for doubt and fear) and it has a gritty, worn-out feel to its atmosphere right down to the threadbare costumes on the actors, in keeping with the somber tale. Much of this is due to Arthur Miller's outstanding cinematography which is ably supported by a suitably downbeat musical score by Cyril J. Mockridge. Fonda, Andrews and Quinn are superb in their roles, and the movie was directed awesomely by William Wellman: he drew suitably subtle performances from some & properly bombastic renderings from others - i.e. Quinn as Juan Martines, etc. The film was purposely given a sort of "claustrophobic look" - via its being set-bound with painted backdrops - in order to create a mood of pervasive doom and maniacal intent of the two dozen "average citizens" to commit a capital crime. Fonda was justly proud of his bravura work in this rather controversial and somewhat depressing Western. As a curious trivial footnote, the film was originally to have showcased Mae West - of all people - as a sort of wisecracking saloon hostess around whom the story would have revolved (!)

A not-so-famous gem! FULL SKULL BABY!

When, oh when will this movie come out on DVD? I often don't agree with "film critics", but this Western deserves all the accolades it gets. This movie speaks to the dangers of mob rule. Films so often become preachy and condescending when trying to tell a story with a 'moral' behind it such as this, but William Wellman pulls it off here with beauty and finesse.

Henry Fonda is at his most believable in this role, much better in my opinion than in '12 Angry Men', where he single-handedly convinces 11 other jurors of a teen's innocence in a murder trial. Here, Fonda is far more human. He cusses. He drinks. He fights. And, most importantly, because suspicion has already been cast on him and cohort Harry Morgan as possible suspects in the murder/rustling case, he ultimately allows the execution of 3 innocent men to take place. Although he serves as the mirror for law, order, and justice, his own human weaknesses make him powerless to stop the lynching.

The supporting cast is excellent. Morgan does a surprisingly good job as Fonda's buddy 'Art'. Jane Darwell is perfect as the untamed Ma Grier. And Leigh Whipper as the black preacher 'Sparks' gives the film some spice without going over the top. My only criticism is with Dana Andrews - his performance comes off as rather stagy, but not enough to reduce the powerful impact of the film.

This movie was not shot 'on location' but in a studio, purportedly to give it a 'claustrophobic' effect. It does just that! There are a few interesting sub-plots too, such as Major Tetley's obsession with 'making a man' out of his less-than-masculine son, and Gil (Fonda) meeting up with former sweetheart Rose, who is now married to an obnoxious businessman from San Fransisco.

This film has not a boring moment in it. On an emotional level it runs far deeper than most Westerns. And, if you're a Henry Fonda fan and have not seen this movie, do so. He is far more convincing as an 'average Joe' than in many of his 'hero' type roles. It may be his best performance ever.

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