Copper Canyon (1950)

the audience applauded

Just perfect...

Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Originally, Farrow and Latimer were to continue their association with Ray Milland in Jack of Diamonds. Latimer had already written the screenplay (based on a story by Berne Giler), a contemporary thriller casting Milland as a thief who steals from the Manhattan gem center, when the actor was called to MGM for A Life of Her Own. Paramount lost interest in the project and when Milland returned, it was decided to showcase him in a western instead. The idea of making him a trick-shooter was doubtless inspired by Milland's real-life ability, but unfortunately the script shows many signs of being prepared in considerable haste. "Copper Canyon", Milland's last film with Farrow, is also his least interesting. Yet oddly it was the movie that Universal chose to showcase in their first Farow-Milland DVD release, instead of Farrow's masterpiece, The Big Clock - a movie that figures on everyone's list of the top noir motion pictures ever made! On the other hand, the leading characters in "Copper Canyon" are little more than stock figures - particularly heroine and villain - and some supporting lights are so shadowy, they barely exist at all (Mona Freeman). Other characters and situations are introduced and then not developed. What is worse is that there is very little tension. Not only does the plot have a foregone conclusion, but the characters are so superficially drawn they seem to have no real feeling - and engage no sympathetic response from the audience.Fortunately, the film is not all stock characters in stock situations. There are pleasing incidentals. Milland's trick-shooting gives the hero an interesting edge and his umbrella of a second-rate theatrical company makes for some amusing saloon-pieces which director Farrow handles with obvious relish. The action material too is vigorously staged (including one unforgettable stunt at the climax). But despite some characteristic long takes, dramatic compositions, arresting high angle shots and even a bit of fluid camerawork, you can sense that Farrow's heart is not really involved in the superficial plot. Milland acts with his usual poise, Lamarr is coldly efficient and Carey is okay as a scruffy villain. The support players do their utmost to take advantage of their limited opportunities, but only Erno Verebes ("I'm the professor!") and Maxine Gates as an overweight chorus girl are really allowed to shine. Photographed in pleasantly-hued color on some rugged locations, Copper Canyon is a quite passable western on its own account - but a disappointing end to the Farrow-Milland-Latimer collaboration which produced such masterpieces as The Big Clock and Alias Nick Beal.

There's a handful of actors from the Forties and Fifties era that don't appear like they belong in Westerns. Fred MacMurray is one, and Ray Milland is another, appearing here as a trick shot artist with a secret he's hiding in order to ply his trade. With sympathies that lean toward the Confederacy, Johnny Carter (Milland) decides to throw in with some Southern miners being victimized for their copper diggings. He winds up in a somewhat dubious relationship with saloon gal Lisa Roselle (Hedy Lamarr), who's part of a syndicate robbing the copper ore train on it's runs to Mesa City.Lamarr's role here didn't seem quite credible when the story fully played out; her affection for Carter outweighed her greed, so she eventually became a good guy. So what about all the robberies that she benefited from that occurred before her turn in this picture? But oh baby, how about those flashing green eyes of hers - wow! There's one scene with Milland where they just jump right out and grab you.So even though Milland looked a bit out of place here, I still have to give the film credit for his character pulling a Durango Kid move when he switched horses following his ambush on the attempted Travis robbery of the ore train. He even switched from a white horse to a black one like Durango would have done ditching his mask and outfit in an undisclosed location. Funny, but outside of Charles Starrett's programmers, I don't think I've seen that done anywhere else, which is why it was unique enough to mention.The other thing unique enough to mention has to do with the casting of Hope Emerson in the story as the saloon boss at the Hotel Rainbow. I became a big time Emerson fan right after seeing her in the 1950 prison flick "Caged". She made this one right after, and has a few good scenes making her presence felt. I sure wouldn't want to get in her way for any reason.For the most part, this is a passable yarn, more of a time filler than an intriguing Western. Keep an eye on that scene when Johnny Carter takes a heavy spill in the creek while riding his horse. It's toward the end of the story, with both horse and rider completely submerging. The most amazing thing about it - Carter's shirt was only partially wet!

This is quite a good western with stellar performance by Ray Milland as the Confederate soldier who is hiding behind the guise of being a trick shot entertainer. Milland is always cool and charming even when in the old west. Hedy Lamaar is lovely and desirable, and of course there is a budding romance between the two. MacDonald Carey is very good as the vicious sheriff who runs the town and the corruption. When Milland and Hedy are together there is no doubt about the chemistry, even when he skips out on her to help the ore train get to its destination. The Technicolor in this film is beautiful and the backdrop for the film is wonderfully photographed. Some of the plot has been seen before in other westerns, but Milland and Hedy make it a worthwhile viewing. As always Milland gives even a common thread his best and therefore shows he can do any part and make it enjoyable.

I like Copper Canyon, it's one of my favorite westerns. Admittedly the plot is somewhat convoluted and the acting, although competent, is not outstanding. I think I mainly like the cast. Hedy Lamarr is gorgeous -- as usual -- Mona Freeman was one of Hollywood's prettiest blondes, and Ray Milland is the suave, dashing hero. At the time it was made, Copper Canyon was just one of many westerns ground out during Hollywood's Golden Age, although a bit more stylish than most. But, like most Golden Age movies, it's fun to watch -- which I can't say about most movies made these days.