There is little for me to add regarding what is already stated on this thread about this marvelous western - actually it happens to be set in the old west, but it transcends the western genre. This is a civics lesson - one of the two great civics lessons that were film highlights in the career of Henry Fonda (with TWELVE ANGRY MEN). TWELVE ANGRY MEN, for all it's legal flaws (and one-sided viewpoints by the characters) is about the seriousness of the business of jurymen with analyzing the evidence of a criminal case where a man's life is at stake. THE OX-BOW INCIDENT is about the need to respect the law and proper legal/criminal procedure, rather than react with emotions for quick solutions of "justice".
But I find this more entertaining than that. I have never read the novel by Walter Van Tilburg Clark, but I imagine he crafted the characters carefully - and they are transferred memorably to the screen. No two characters are identical. Fonda and his friend Harry Morgan represent decency and common sense, but both are separate types. When Morgan gets them into the posse, Fonda is amazed, until Morgan explains that it would have looked odd if they had not joined (i.e., the lynch mob might have been suspected Morgan and Fonda). Fonda meets his old girlfriend in a runaway stagecoach, and meets the quiet, prosperous man who is taking her to San Francisco to live. The girlfriend gives Fonda a kind invitation to visit them, but the husband with a quiet, pip-squeak type of insolence manages to make Fonda realize that his visit would not be acceptable. The deputy starts the lynch party, and is on hand to give it "legality". But the real authority is Tetley, a former Confederate officer (although it is revealed that he might not have been a good officer, or even a brave one). He is an officious, tyrannical martinet. Yet, when the error of the lynching is revealed, Tetley returns home. He tries to maintain his dignity, locking out his son Gerald (who has behaved too humanely to the three victims). Gerald finally finds his voice, and suggests that Tetley is as weak and cowardly as Gerald is. The result is Tetley realizing his secret is known kills himself. As for the deputy, he is fired by the Sheriff, and he sends money to Fonda for Dana Andrews. Paul Hurst and Jane Darwell (in a butch part, for a change) have a dreadful gallows humor. Hurst, even after the tragic error is revealed can't stop thinking the same way, suggesting Tetley should be hanged ("You're a great one for hanging.", sneers Fonda.). The three victims are distinctly different: Dana Andrews is trying to convince the mob to wait until the sheriff arrives - to give them a fair, legal chance. Anthony Quinn, who has a type of shady background (and is a foreigner - an educated Mexican gambler), is more fatalistic. He sees no reason to dirty his last hours begging these neanderthals for his life (he does use Chris-Pin Martin as a sustitute for a priest in confession). Francis Ford is a seemingly befuddled old man, but he has enough stupid-cunning to try to throw the blame for the reported murder on Quinn. Actually the mob believes what it wants to believe. And the character of Sparks is one of the first serious roles for an African-American in films - a genuine ember of humanity, laughed at and tolerated by the mob leaders. As the three are hanged he is the only member of the mob to remain on his knees in silent prayer for the dead/dying men. Earlier Sparks explains that his own brother was lynched, so he understands this evil more than anyone else.
THE OX-BOW INCIDENT is among the the great ensemble pieces of the movies. As such it should be watched and enjoyed.
But I find this more entertaining than that. I have never read the novel by Walter Van Tilburg Clark, but I imagine he crafted the characters carefully - and they are transferred memorably to the screen. No two characters are identical. Fonda and his friend Harry Morgan represent decency and common sense, but both are separate types. When Morgan gets them into the posse, Fonda is amazed, until Morgan explains that it would have looked odd if they had not joined (i.e., the lynch mob might have been suspected Morgan and Fonda). Fonda meets his old girlfriend in a runaway stagecoach, and meets the quiet, prosperous man who is taking her to San Francisco to live. The girlfriend gives Fonda a kind invitation to visit them, but the husband with a quiet, pip-squeak type of insolence manages to make Fonda realize that his visit would not be acceptable. The deputy starts the lynch party, and is on hand to give it "legality". But the real authority is Tetley, a former Confederate officer (although it is revealed that he might not have been a good officer, or even a brave one). He is an officious, tyrannical martinet. Yet, when the error of the lynching is revealed, Tetley returns home. He tries to maintain his dignity, locking out his son Gerald (who has behaved too humanely to the three victims). Gerald finally finds his voice, and suggests that Tetley is as weak and cowardly as Gerald is. The result is Tetley realizing his secret is known kills himself. As for the deputy, he is fired by the Sheriff, and he sends money to Fonda for Dana Andrews. Paul Hurst and Jane Darwell (in a butch part, for a change) have a dreadful gallows humor. Hurst, even after the tragic error is revealed can't stop thinking the same way, suggesting Tetley should be hanged ("You're a great one for hanging.", sneers Fonda.). The three victims are distinctly different: Dana Andrews is trying to convince the mob to wait until the sheriff arrives - to give them a fair, legal chance. Anthony Quinn, who has a type of shady background (and is a foreigner - an educated Mexican gambler), is more fatalistic. He sees no reason to dirty his last hours begging these neanderthals for his life (he does use Chris-Pin Martin as a sustitute for a priest in confession). Francis Ford is a seemingly befuddled old man, but he has enough stupid-cunning to try to throw the blame for the reported murder on Quinn. Actually the mob believes what it wants to believe. And the character of Sparks is one of the first serious roles for an African-American in films - a genuine ember of humanity, laughed at and tolerated by the mob leaders. As the three are hanged he is the only member of the mob to remain on his knees in silent prayer for the dead/dying men. Earlier Sparks explains that his own brother was lynched, so he understands this evil more than anyone else.
THE OX-BOW INCIDENT is among the the great ensemble pieces of the movies. As such it should be watched and enjoyed.