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The Last Sunset (1961)

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14 out of 14 people found the following comment useful :-
"Men Kill Or Get Killed, And Women Bury Them", 15 luglio 2000
Author: Michael Coy (michael.coy@virgin.net) da London, England

Enemies Bren O'Malley and Dana Stribling confront each other in Mexico, and are then hired by the Breckenridge family to help drive a herd of cattle north to Texas. The two men observe a truce which will last until they have crossed the Rio Grande, but at sunset on the first day back in Texas, there will be a reckoning. For one of them, it will be the last sunset.

Made in 1961, this film is a fine example of an art form that was dying - the 1950's western. John Wayne carried on making them for a few years more (and arguably up to "The Shootist"), but by 1964, three years after this picture, the Spaghetti Western had arrived, and the genre was transformed for ever. The 1950's in Europe and America was an era of social stability - some would say stagnation - and the western reflected the values of the rigid, disciplined society which produced it. Plots did not vary much, innovation not being something that audiences craved, and storylines turned on predictable devices like cattle stampedes, indians on the skyline, fast draws and a man doing what a man's got to do. This film happens to contain all of these stock ingredients.

Man's desire for woman is a theme running through the story in deftly-worked permutations. Dalton Trumbo's better than average script has older men lusting after younger women, men harbouring fantasies of lost love, bad guys leering at decent matrons, and much more. Belle is made a chattle in her husband's droving contract, and receives a new proposal of marriage under the flying buttresses of a Mexican church. In keeping with the film's symbolic structure, she reserves her response until the Rio Grande has been crossed (Mexico seems to preserve the Americans in aspic, preventing them from advancing their plans, just as the church architecture encloses Belle and her lover).

"The Last Sunset" is several cuts above the average western. Its plot situation, the pursuit of one man by another and the involvement of a ranching family, is neatly established at the outset with minimal dialogue. The immediate sexual electricity between O'Malley and Belle engages the viewer, and O'Malley's little comic touches convey his charm and 'open him up' for the viewer. Belle's inner conflict is quickly made plain for us, and O'Malley's behaviour (graciously allowing her to leave the barn) is psychologically interesting, suggesting that he is certain of her. We want to know more about these characters. Much is achieved with the merest of glances, as when Breckenridge tells O'Malley "everything that's mine is yours", and O'Malley darts a look at Belle, or the glance thrown by Stribling when he realises why O'Malley is taking the appalling risk of returning to Texas.

Expert editing by Michael Luciano enhances the effectiveness of the movie considerably. When O'Malley teaches the Julesburg Kid a lesson on horseback, elliptical cutting skilfully evokes the Kid's sense of dizziness and confusion. At the final shoot-out, the accelerating rapidity of the cuts increases the tension brilliantly. There is one small lapse at the start of the cattle drive - the pick-up shot of O'Malley fording the river (overcast sky) does not match the master shot (bright sunshine).

O'Malley's song, "Pretty Girl In The Yellow Dress", runs through the film as a motif. It is a central symbol, because O'Malley's idealistic and doomed vision of Belle is transferred to Missy when she dons the dress - "a new smell to follow".

Admirable though it is, the film does have some weak points. Would Breckenridge REALLY accept O'Malley's second precondition? Would the wily O'Malley REALLY shoot the indian so rashly? The grassy bank on which O'Malley and Missy recline is patently a studio fabrication, bearing no resemblance to the parched earth of the location shots. Stribling's final comment on the derringer is clumsy overkill. We all got the point.

Good use is made of locations, especially old Spanish architecture like the crumbling aqueduct. The brick arches seem to be enveloping the Americans, just as their lives are stalled by being here in Mexico. Attractively-shot silhouettes adorn the dust-storm sequence, particularly during the quicksand episode. Once back in Texas, O'Malley is emblematically shut in by corral fences, a man left with nowhere to go. The film's great punchline, delivered by Belle on the verandah, is truly shocking.

Kirk Douglas and Rock Hudson, O'Malley and Stribling respectively, appear above the title (Douglas's own production company, named after his mother, financed the picture). Douglas is appealing and charismatic in one of his many 'generous-hearted bad guy' roles. Hudson is perfectly adequate in the straight-down-the-line part of Stribling, and looks terrific. The character of Belle, with her internal contradictions and the aura of having been buffeted by life, calls for an actress with both beauty and intelligence. Dorothy Malone is ideal in the role. Carol Lynley does very well as Missy, making a great transition from gawky kid to radiant woman. If Joseph Cotten fails to shine, it must be said that the part of Breckenridge is a dreary one. Neville Brand and Jack Elam turn in stock performances: as jobbing bad guys throughout the 1950's and early 60's, they must hardly ever have needed to shave.

Verdict - Interesting western with powerful denouement.

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11 out of 12 people found the following comment useful :-
The Girl In the Yellow Dress, 16 agosto 2006

Author: bkoganbing da Buffalo, New York

The one and only teaming of Kirk Douglas and Rock Hudson in The Last Sunset was a fortunate one. Kirk's production company Bryna put this film together and the wise Kirk knew what he was doing when he took the flashier and meatier part of the villain.

In that regard The Last Sunset is similar to Gunfight at the OK Corral where the straight arrow hero of Wyatt Earp played by Burt Lancaster took a definite second place to Douglas's Doc Holiday. As Brendan O'Malley, Douglas is one devilishly charming one with the ladies and fast on the draw as all get out.

In fact Douglas's libido seems to get him in a whole lot of trouble. It's the reason that sheriff Dana Stribling played by Rock Hudson is down and out of his jurisdiction in Mexico chasing O'Malley. It's more than a job with Stribling as you'll see in the film.

While in Mexico Douglas meets an old flame of his, Dorothy Malone there with her husband Joseph Cotten and daughter Carol Lynley. Both he and Hudson strike an unusual bargain with the family. They'll aid them in their cattle drive to the American side of the Rio Grande, but then Douglas and Hudson will have it out.

Sounds crazy, but all will be revealed to the viewer before the film is over, although I'm sure some will guess.

Hudson got the far less glamorous part of a straight law and order sheriff. He has his moments, but the film really turns on the personality and charm and considerable talent of Kirk Douglas. This is definitely one of his top ten performances on film. Sad it isn't shown more often.

Dorothy Malone was doing very well around this time as a portrayer of western women. Her career really took off after that Oscar in Written on the Wind. She's the epitome of a strong willed pioneer woman who had to bend a few conventions to survive.

The Last Sunset is a great western, the usual amount of traditional western activity with some very adult themes in this which I just can't reveal lest it ruin one's viewing.

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9 out of 10 people found the following comment useful :-
Ostensibly a western soap opera--though much more provocative, 31 marzo 2002

Author: moonspinner55 da redlands, ca

Terrific western-drama from director Robert Aldrich has sheriff Rock Hudson tracking lawless Kirk Douglas to a rancher's homestead; they soon find themselves agreeing to take part in a grueling cattle-drive, and to work out their differences along the way. Breathtakingly photographed adventure has three-dimensional characters, good writing by Dalton Trumbo and solid acting (particularly by Douglas and fresh-faced Carol Lynley, well-cast as a youngster with a crush on Kirk). The melodrama gets a little thick at times, though odd flickers of humor quickly intercede whenever things start to get too mawkish. *** from ****

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6 out of 7 people found the following comment useful :-
Beautiful, Deeply Affecting and Nearly Forgotten, 19 ottobre 2006

Author: Bob-45 da Savannah, GA

*** This comment may contain spoilers ***

While more "chick flick" than western, "The Last Sunset" is, nonetheless, a great movie. World class performances from Kirk Douglas, Dorothy Malone and Carol Lynley, and a very good one from Rock Hudson (who struggles with a character who becomes increasingly irrelevant) highlight this effort. The plot elements border on soap, but so do many of Shakespeare's, and there's that level of poetic beauty in "…Sunset".

Kirk Douglas plays O'Malley, a charming but ruthless gunfighter, who has escaped justice to Mexico. But O'Malley reasons for being in Mexico are far greater than sanctuary; for O'Malley has reached a point in his life where he longs for more than the usual pleasures. O'Malley has learned his "lost love" is living in Mexico and he intends to have her.

Dorothy Malone plays Belle, O'Malley's "lost love". Belle has settled into conventional life with an alcoholic husband (Joseph Cotton) and a sweet, lovely, but willful teenage daughter (baby-faced Carol Lynley). They own a small ranch and plan to move a cattle herd to Texas.

Rock Hudson plays the sheriff pursuing O'Malley for his own reasons. Hudson's character is more a symbol than a real person, signifying snap judgment and retribution giving way to more nuanced evaluation of O'Malley's life and character.

I first saw "…Sunset" when I was thirteen, and it had more influence on my feelings about unselfish love than all the years I spent going to church. While I freely admit my wife and I shed tears at some movies, only "The Last Sunset" left us both openly sobbing at the end.

WARNING: SPOILER Douglas' choice to duel Hudson with an unloaded gun was much less a choice for suicide than a determination to protect his daughter (Lynley) from the consequences of their feelings for each other. Douglas sacrificed his life for his daughter's happiness and left her with a beautiful, loving memory of a man who was far better than anyone but God would have ever believed.

END OF SPOILER Sadly and, for whatever reason, "The Last Sunset" has been nearly forgotten. While prints screened on TCM are usually pristine, the print of "…Sunset" was noticeably damaged.

"The Last Sunset" is beautifully photographed, directed and scored, touchingly written and gets better with repeated viewings. What more can one ask? I give "The Last Sunset" a "9".

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7 out of 9 people found the following comment useful :-
Good movie, great memories., 14 luglio 2005

Author: polarbearlover da United States

Major portions of this movie were filmed on my grandfather's ranch "La Presa" in Aguascalientes, Mexico. My family and the locals still remember the excitement of hosting Hollywood stars and a film crew in such an unlikely place. Throughout the film the actors make factually correct references to the local villages and towns. And although most of these people only viewed the movie once (during its initial run in 1961) they remember the plot and the excitement of hearing the names of their villages uttered by stars on the big screen. And while Aguascalientes cannot claim to be a cult destination a la "Giant" (Rock Hudson again), they remain proud of their footnote in film history.

I personally recall the loud arguments my father (living in the USA at the time) would have with his cousin Salvador, who swore that Rock Hudson had been seen in town with the local (and few) homosexuals. In 1961, my father believed that it was impossible for Rock to be anything but the All-American (straight) male image he projected on the screen. My dad laughs about it now.

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3 out of 3 people found the following comment useful :-
O'Malley, the alley cat., 3 febbraio 1999

Author: Kerryman da Ireland

An unpretentious Western told in an honest, straightforward manner.

Robert Aldrich does a very controlled job directing a story straddling the Texas Mexico border, a story told at a steady pace but rarely reaching memorable highs. The film has many elements of the classic Western including a chase, cattle drive and gunfight but it also tries to add some melodramatic, pure story based elements - though one major plot point was so well signposted, it might as well have been included in the opening credits.

Kirk Douglas, as Brendan O'Malley, provides the barely controlled dynamism at the centre of the film. Unfortunately, not all parts of the film are to this standard. Rock Hudson has difficulties with the role of the upstanding sheriff. A strong supporting cast, from Joseph Cotton to Jack Elam, provides a wide, interesting range of characters.

Overall, a solid if unspectacular film, recommended for Western and Kirk Douglas fans. 6.75.

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2 out of 2 people found the following comment useful :-
Forgotten, Mislaid, all In Error! See this!, 3 febbraio 2008

Author: spiritof67 da United States

A great movie, and a Dalton Trumbo script to boot. Hey, how'd that happen? Famed Commie lover DT gets real screen credit? Maybe that's why nobody's seen this film. The sets, settings, cinematography and acting are first-rate. This may even be the first of Joseph Cotten's long run of disreputable former Confederate officer (or is that redundant?) roles. Starring Kirk Douglas, the best action adventure actor in the history of Hollywood, Rock Hudson, one of Hollywood's greatest actors (he made you believe he was a macho hetero man, didn't he?), Dorothy Malone, perhaps not the best built but undeniably one of its most super hot and sexiest actresses and Carol Lynley, one of Hollywoods best but terribly underrated actresses, this film is a treat. Plot twists; personality realignments; changing loyalties; unexpected (and quite adult) plot changes; and an ending you can't see coming until the end.

Add this to some cinematography that is totally wasted on a TV screen and really demands a VistaVision screen, and you've got a real Western.

The opening scene includes a vista shot that CAN NOT be properly appreciated on a TV screen, be warned.

I don't know why this film is so sparely known - but as a Western movie enthusiast, I didn't see it until 2008 myself. It is QUITE a movie - see it!

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5 out of 9 people found the following comment useful :-
Average Western with great punchline, great villain, weak protagonist, 1 dicembre 2004
Author: Len Helfgott (lhelfgott@carroll.com) da USA

Here's a perfect example of why the villain has to be the best actor you can find, Kirk Douglas filling the bill perfectly, and the 'hero' should be at least passable, Rock Hudson unfortunately failing here. The great punchline to the movie delivered by Dorothy Malone at the end, makes this otherwise 'standard' movie worth watching. I strongly believe that his movie was very important in some unknown way to his son Michael, who was just 17 when this was filmed. WHY?-well, look at the casting of Dorothy Malone in "Basic Instinct" and the ultimate denouement of Michael Douglas in "Falling Down", arguably Michael's best work ever, Michael's Oscar's (which Kirk should have received many of) notwithstanding.

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Decent, 28 febbraio 2008
Author: MichaelElliott1 da Louisville, KY

Last Sunset, The (1961)

** 1/2 (out of 4)

Extremely bizarre melodrama hidden under the Western genre features a great cast but not much else. A Sheriff (Rock Hudson) is pursuing the man (Kirk Douglas) who killed his brother in law but Douglas ends up in a cattle drive for a man (Joseph Cotten) who is now married to Douglas' old love (Dorothy Malone). The Sheriff eventually enters the cattle drive the keep his eye on Douglas but soon he too falls for the woman. This is the type of film that should be shown on a woman's channel because it's really nothing more than a soap opera taking place in a western setting. The film really doesn't have too much going for it outside some very strange moments and its wonderful cast. Hudson sleepwalks through his role but even this remains somewhat entertaining. Douglas is good but nothing great while Malone is good in her role. Cotten steals the show as the drunk who fought in the Civil War. This film tries to throw just about everything into the mix and that includes drunken Mexicans, crazy Civil War vets, savage Indians and some good old fashioned incest. Half way through the film Douglas starts pimping on a new woman and it turns out to be his daughter! This leads to a pretty big laugh but the majority of the film is simply by the numbers and it runs way too long since we know where it's headed.

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Decidedly different western yarn examining love, lust and revenge., 6 settembre 2007
Author: Poseidon-3 da Cincinnati, OH

*** This comment may contain spoilers ***

Leonard Maltin may have said it best in his review when he referred to this film as "strange on the range". Some unusual elements come into play in this tale of two men locked in a conflict that can only result in death for one of them. Douglas plays a no-good drifter who has left a wave of disappointment and, at times, death in his wake as he's traveled the west. In hot pursuit is sheriff Hudson, who blames Douglas for the loss of his sister and brother-in-law. They find themselves, through plot contrivance, aiding a couple, Cotten and Malone, with a cattle drive and promise to stand off against one another, to the death, when they cross the border from Mexico into Texas. Meanwhile, Malone's daughter Lynley begins to fall for Douglas as Hudson starts to forge a soft spot for Malone, a woman Douglas has known and loved long before. The cattle drive proves to be eventful with boozy Cotten landing in trouble and with some Indians becoming agitated over the loss of one of their own. It all comes to a head at the end of the drive with secrets being revealed just prior to the gunfight. Douglas produced this film and has the choicest role in it, though, amazingly enough, he takes second billing to Hudson. He is intense and fiery when he isn't mournful or contemplative. Hudson has the more colorless role and does so-so in it. He's tall and handsome and appealing, but sketchy and uninvolving at the same time. He and Douglas's acting styles are so diverse that they don't seem to fit together well at all, though this probably aids them in their animosity-filled on screen relationship. Malone has a few very fine moments and was enjoying the gleam of her Oscar win from a few years prior, but her role tends to be little more than decorative much of the time. Her hair is a bizarre shade here, too, with the ends very blonde and the middle a sort of golden orange. Lynley establishes some chemistry with Douglas and is fresh and cute, but like many other aspects of the film, her role seems disjointed. Cotten isn't on screen long enough to have a huge impact, but he tries hard to make an impression. Elam, Brand and Westmoreland play a trio of opportunists who join up with the cattle drive. (Fun fact: Westmoreland was married for, literally, a month to Kim Darby in 1970.) The editing/continuity on this film is really poor at times. Time and again Malone is shown in contrasting positions and expressions between shots. It smacks of pre-release tampering or cutting, at times. Another big gaffe is the finale, which is supposed to take place at sunset, yet the sky goes from dim and deeply colored to bright and stark in time for the showdown! On the plus side, the cinematography tends to be strong and the music is good. The stars are attractive and manage to be compelling despite the lack of cohesion and direction in the script. At first glance, thanks to the studio and the presence of Hudson and Malone, this looks like it might be a Douglas Sirk picture, but it's not, of course. Aldrich does include a touch or two of symbolism, however. Note the position of the barn door lock when Malone and Douglas are having a confrontation and he opens it (pulls it out abruptly!) to let her out. Malone drives a chuck wagon and behind her is a beautiful chair with a rip in the upholstery. Like her, it's a lovely piece that's been scarred by its surroundings and the people who've used it. It's not an entirely successful film and sometimes it's even rather weird, but it's mostly entertaining.

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