A notorious sensation when it first opened in 1943 , reclusive billionaire Howard Hughes' western THE OUTLAW is noted today as the vehicle that launched the movie career of Jane Russell, whose sporadic film vocation was capped by modeling the "Cross Your Heart " bra on television and in print adds. The temptation to knock this production is tempting because so many great artists were involved at the behest of the wealthiest rank amateur of all time. Not satisfied with original director Howard Hawks' vision, Hughes fired the esteemed film maker and took over the directorial reigns (and in the process compromising the artistic quality of the film by being distracted by production red tape.) What emerged on the screen is a "what might have been" variation of The Billy the Kid legend, and in spite of pedestrian direction a fine cast makes the proceedings bearable. Walter Huston and Thomas Mitchell do their very best but are at the mercy of Hughes' guiding hand, where it seems as though each actor is just a few seconds behind a beat in responding to the other. Jack Beutel, a handsome newcomer playing Billy, has a smoldering presence that seems to be a harbinger of Brando and Dean, but he is thwarted by a lack of focus thanks to Mr. Hughes. As for the love scenes, they have an undeniable fascination and one can imagine this was "hot stuff" for the 1940s! Taken for what it is , this western is at best a curiosity, peopled with some of Hollywood's most remarkable talent . Cinematographer Gregg Toland gives the picture a great look in black and white and Hughes penchant for using classical music ( Tchaikovsky's Adagio from his 6th Symphony graces the opening credits and Russell's steamy love scene!) gives this somnolent oater a touch of class.
Review of The Outlaw
