A Genre In Retrospect: The Western - Part 7

Once again, Samuel Fuller goes back to the drinking hole of Western films, and makes his strongest one yet, ‘Forty Guns’ (1957). This classical style Western is much smaller than the big ones at the time, but it still had a lot it proved. Loosely basing the story on the Earp family, Fuller once again takes from real life to execute in his cinematic vision. The work behind the camera is remarkable, and Fuller clearly was gaining the steam he needed to make excellent works of art. The staging of this film is the best of the directors works yet, and it really proves more than the eye can see. ‘Forty Guns’ (1957) is a really step up in this genre, and it is one fun ride for sure. 

Samuel fuller by this point had already done his stint of making some all time classics. Westerns, war films, even film-noir, and by 1957, he decided to go back to where it all began for him. Fuller clearly had a masterful mind, not only on filming and staging shots, but also how to write an airtight script. This film, though it is only 80 minutes long, really brings a lot of heat to the table. The writing is concise while still being full of great western action. On top of all of this, Fuller really proved his hand behind the camera is one of a kind, and he is always willing to evolve for the art of cinema. 

As I watch through all of these westerns, I realize there are a few stories that it’s pretty tough to get out from underneath. One is of course the story of Jesse James and Robert Ford. The other is the legend of Wyatt Earp and his brothers. ‘Forty Guns’ (1957) does not only make reference to this story, but it maps out the entire story behind the brothers. I thought this was pretty funny, but I honestly would have preferred to just see everyone saddle up instead of just insinuating these are the Earp’s. The story is a little too close to even call it anything else, and Fuller should have just made it a more unique story for them. I still enjoyed this script, and it’s by far one of the better ones by this point. 

This is where Samuel Fuller really figured out what kind of director he wanted to be. Like seen slightly before, he manages to perfect the art of staging on the screen. There are a few sequences, where we are able to visualize the entire lay out from start to finish. We get the plan before from both parties, then a real layout is played on screen. It’s tough to pull this off and not make it seem like too much exposition, but Fuller nails it. The usage of shadows once again comes into play for a highly saturated western, and it really delivers visual storytelling. It’s clear to see Samuel Fuller had begun to master his craft by this point, and he realized the script and the visuals are what makes it breaks films. 

This is by far the best of the three Samuel Fuller westerns I have seen so far. This is the most intriguing story that was put out by the writer/ director, and it is the most clearly executed. There is no filler to this movie, and that’s 80 minute run time just flys by with a purpose. The cast are typical 50’s western men who do the job that’s asked, and that’s all we want from a film like this. Samuel Fuller really delivers a great western that’s deserving of plenty of time and love.