While his name is not yet quite as synonymous with the western as John Wayne, John Ford or even Howard Hawks, Anthony Mann's work in the genre is some of the absolute finest. Films like The Naked Spur and The Man From Laramie are some of the most beloved westerns of all time, and 1950's Winchester ‘73 is considered to be one of Mann's greatest films, if not his best.
Starring a prime James Stewart as Lin McAdam, the story follows the titular Winchester ‘73 gun. Opening with a shooting contest in the surprisingly tranquil Dodge City, a place so well looked after by its Deputy Sheriff Wyatt Earp that those in the town happily hand their guns in rather than wearing them, Lin wins the sought after weapon. Jealous after having come second place in the contest, Dutch Henry Brown (Stephen McNally) ambushes Lin and steals the coveted gun, running away with it.
The rest of the film uses the primary motivation of Lin's revenge to move through the American west from the aforementioned (relatively) utopian space of Dodge City through to the more barbaric and dangerous plains, introducing a wide variety of intriguing characters along the way. That transition, from civilisation to the plains, is one made beautifully – Mann's style completely changes to fit around his narrative and characters. His interior scenes are shot similarly to the melodramas of the time, but Winchester ‘73 also highlights great versatility on Mann's part as its action and chase sequences are absolutely stunning.
Most brilliant of all is a lively chase sequence which comes around the middle of the film. Mann's landscapes, filmed by cinematographer William H. Daniels, are unbelievable. The classic (and, yes, still problematic) Cowboys vs Indians scene is elevated a great deal by shooting on location, the sky stretching away into the distance. The camera movements are far ahead of their time in the same way that some of the form of Ford's Stagecoach were a decade before. The lighting is exquisite, like that of a film noir, and the energy and fluidity of the cinematography is stunning.
Mann's form throughout the film is extremely strong. The editing is tight and rhythmic, the script is well paced and combines its thrills with both lighter and more dramatic moments almost seamlessly, and even smaller elements such as the casting are great. James Stewart lends a good leading performance, but it is McNally's great villain Dutch Henry Brown who steals the show. Topped off by a fantastic climactic gunfight, one which thrives thanks to Mann's choice to strip it of a score and have its tense silences interrupted only by gunfire, Winchester ‘73 is a visually stunning western that leaves a strong lasting impression because of its reflections on the ethics of revenge.
Special Features
- New 4K digital restoration, undertaken by Universal Pictures in collaboration with The Film Foundation, with uncompressed monaural soundtrack
- One 4K UHD disc of the film and one Blu-ray with the film and special features
- Audio commentary featuring actor James Stewart and film historian Paul Lindenschmidt
- New interview with film programmer Adam Piron on the portrayal of Native Americans in the western genre
- Forces of Nature: Anthony Mann at Universal, a program on a key chapter in the director's career
- Lux Radio Theatre adaptation of the film from 1951
- Trailer
- English subtitles for the deaf and hard of hearing
- Plus: An essay by critic Imogen Sara Smith
New cover by Gregory Manchess
Winchester ‘73 releases on Blu-Ray and 4K UHD by the Criterion Collection on February 3rd