Jimmy Stewart was in a lot of Westerns. From Destry Rides Again (1939) all the way to The Shootist (1976), the actor’s continual returns to the frontier nearly end up signposting the decades-long rise and fall of the genre itself. In the early 1960s, just prior to the introduction of a violent revisionism courtesy of Sam Peckinpah and Sergio Leone, Stewart teamed with John Ford and turned out classics like The Man Who Shot Liberty Valance and How the West was Won. Prior to that, as the Western was enjoying its heyday in the 1950s, Stewart starred in the progressive-for-the-time Broken Arrow and in a string of Westerns from director Anthony Mann, including the eventual classic Winchester ’73. But the most underrated Stewart Western — and maybe one of the most underrated Westerns period — is another feature from Mann called Bend of the River.
It’s an unlikely candidate for that mantle, maybe, if only for the lack of stereotypical Western tropes. Stewart stars as Glyn McLyntock, a tough cowboy who puts himself at risk to ensure a delivery of supplies reaches a budding homestead in the Northwest Frontier. The route takes him by valley and mountainside, through Portland, and back and forth across the eponymous river, all the while accompanied by friend and foe of varying loyalties. This question of loyalty — who’s the real villain? —is very much at the heart of Bend, and the guessing game we play as viewer is a big part of what makes the film so great. (Also, it must be noted, “Glyn McLyntock” is an all-timer of a character name.)
I am admittedly predisposed to movies like The Northman — bloody, epic revenge tales with a strange angle, a hyper-specific period setting, or both. I’m also a huge fan of 
Columbus, the debut feature from writer/director Kogonada, was so quietly self-assured that I figured I knew what to expect from his sophomore effort After Yang. Carefully composed framing, slow-but-steady pacing, and a general construction so precise that it borders on the architectural (and not just because Columbus was partly about architecture) — these are the hallmarks I readied myself for in After Yang, which premiered last week at the Sundance Film Festival.
Independent Film Festival Boston
The traditional Western is perhaps not known for subtlety, nor for its interpretive qualities, nor for self-awareness, and yet Pale Rider has all of those things and is very much a late-game classic of the genre. “Classic,” here, should indicate that this is not a revisionist Western, despite being released long after the genre had been declared dead. The plot concerns a fledgling California village under the thumb of a ruthless mining corporation, and Clint Eastwood’s mysterious loner rides into town and kicks ass in the name of the little guy. This, as you may have heard, is about as classic as the plot of Western gets (see also: Shane, Django, A Fistful of Dollars, Eastwood’s own High Plains Drifter, etcetera).
The arrival of the Spaghetti Western in the mid-1960s might be credited as the major pivot point for the film Western on the whole, but a subtler shift began more than a decade earlier. American director Budd Boetticher was familiar with the genre in 1956, having helmed six or seven Westerns in the early ’50s, films starring the likes of Rock Hudson and Glenn Ford. By and large these fit the mold of what you’d expect from the era, right down to the leading man: young, chiseled cowboys with a strong moral compass and a way with horses. Typified by Hudson, Ford, Gary Cooper, Henry Fonda, Joel McCrea and especially John Wayne, the Western Heroes of the time are jokingly (or not?) said to have had only two emotions on display: “hat on” and “hat off.”
Motion State Review 