JESSE JAMES

US, 1939, 106 minutes, Colour.
Tyrone Power, Henry Fonda, Nancy Kelly, Randolph Scott, Henry Hull, Brian Donlevy, John Carradine, Donald Meek, Jane Darwell.
Directed by Henry King.

Jesse James and his brother Frank James have been portrayed in many a Hollywood film. With Tyrone Power and Henry Fonda in the central roles in 1939, there was also The True Story of Jesse James, directed by Nicholas Rey in 1956, with Robert Wagner. Bob Hope sent up a variation on the legend in his comedy, Beau James. Later variations on the theme appeared in such films as American Outlaws, with Colin Farrell as Jesse James and Brad Pitt as Jesse James in The Assassination of Jesse James’ by the Cowardly Robert Ford. In this film, John Carradine is Ford.

The film is straightforward in its presentation of the west. It is a variation, of course, on the Robin Hood story or the good David and Goliath story, the oppressed outlaws against the railroad companies. The motivation for the moving into train robberies by the James brothers was the killing of their mother.

Eventually, Jesse James was killed, shot in the back by Robert Ford for the reward. Frank James survived – and was to appear in Fritz Lang’s film, The Return of Frank James in 1941.

There is a great deal of argument about the legendary status of the James brothers – whether they were oppressed by authorities and reacted accordingly, in a parallel with Ned Kelly in Australia, or whether they were cold-blooded robbers and killers.

Tyrone Power was at the peak of his popularity at this time, having appeared in a number of films for 20th Century-Fox? in the mid to late 1930s including Lloyds of London. He was to go on for a successful career for almost twenty more years before his untimely death. Henry Fonda was a strong star in the 1930s and continued in films until 1948 including a number for John Ford including The Grapes of Wrath, My Darling Clementine and Fort Apache. He was absent from the screen until 1955, concentrating on theatre work. He reappeared in Mr Roberts? and War and Peace and was to continue his career for another twenty-five years, finally winning an Oscar for On Golden Pond in 1981.

The film was directed by Henry King, a strong director for many years in Hollywood, especially at 20th Century-Fox? where he directed Tyrone Power in many films from Lloyds of London to King of the Khyber Rifles in 1955.

1. A classic Western? Reflecting the film-making style of the 30's, early colour photography? the western style, conventional westerns? The influence of this kind of film in later decades?

2. The American film tradition of the West, the presentation of the pioneers. their difficulties, the railroad, the legends about the west, of people? The atmosphere of oppression and evil?

3. The presentation of the railway in Western films: the groups, companies, railways crossing America, communication, migration to the West? The men involved with the railroads, the criminals, the land for the money, the cruelty and the disregard of peoples lives, farms? Outlaws, the action of the law on the side of the railways? This as part of the American heritage? An ugly side of America?

4. The status of the legend about the Jameses? Is it possible to get at the facts? The railroad situation. poverty and oppression, killings? The good aspects of the James revolting against the railroads? The bad aspects of their lives, becoming more and more immersed in the outlaw raids? How credible is this presentation of the legend? The effects of creating legends out of the Jameses, the heritage for American history, mythology? How adequately did this film present the pros and cons of the life of the Jameses?

5. The opening with the railroad situation, the pressuring of the side people, the brutalities, giving them so little money? The fights? The personalities of the agents and their ruthlessness? Tactics? The law supporting them? Death as being no object? The confrontation at the James ranch? Mrs James and her hostility, yet her reasonableness? Jesse and the fight? Bettering the agent and his vengeance? Mrs James's death and its repercussion?

6. Tyrone Power’s style as Jesse James? As a young man himself, working, bond with his brother, mother? Hopes for the future? A leader? His skill in dealing with the agents, that being transferred then to the revolt against the railroad people and the law? Into outlaw? The contrast with Henry Fonda’s style as Frank? Older yet supporting Jesse? The bonds between the two brothers? The decision for resistance? their followers? Thinking that
law was on their side? The decision to hold up the train, the picturing of the first robbery?

7. Why did the outlaws come to like it? When could they have stopped? How well was this illustrated in their robberies, confrontations with one another, decisions, the influence of Macaulay?

8. The portrayal of the attractive heroine? Her relationship with her uncle and his running of the paper and his attitudes? Her love for Jesse, helping him even when the boy was present? The possibilities for the future? Her persuading Jesse to go to gaol and trial? sharing his disillusionment with the dishonesty of the railroad people? Wanting to build a marriage, family? His not being present at the birth of their child and her disillusionment? Her return home yet her continued love for him? The hopes at the end? An idealised presentation of the couple?

9. The personality of Macaulay, as a marshal, as a just man, love for Zee, helping of Jesse, his disillusionment with the railroad people? His constant presence at the court for Zee?

10. The presentation of those associated with the railroad, the brutality, Jesse’s killing them - their fight? Law and order? The railroad official, the small man and his vengeance, his betrayal and not keeping his word? His being undone by the brothers? The farce of the preparation for the trial? Audience sharing the zest for escape?

11. The build-up of the robberies? The drama of the Northfield-Minnesota? raid? The preparation for the betrayal? Jesse and his disillusionment at this stage? So many years passing, the disappointment after he left the boy? The confrontation with Frank? The breaking up of the group yet Jesse’s being persuaded to keep them together? The portrayal of the raid, the shooting, the escape?

12. Jesse’s return to his wife, becoming a legend because of' his death and yet the hope for a private life and an honest future? The build-up to the visit? the double talk, the upstairs - the boy playing outlaws outside? The pathos of his death? The film ending with the unveiling of the monument?

13. So many monuments to the Jameses, even film monuments? Is the final speech adequate in explaining the Jameses in the 19th century context? The group in the revolution against injustice? The evil in the robberies and its getting a hold?

14. The later re-assessment of the James’s in the light of history? The importance of' such mythological outlaws in the heritage of' a nation?