Saddle the Wind is an okay, fairly routine Western, starring Robert Taylor as the retired gunfighter running his ranch with his trigger-happy younger brother, played by John Cassavetes, with an iconic screenplay by Rod Serling, beautiful widescreen cinematography by veteran George Folsey and music by Elmer Bernstein. One of the film's themes is similar to King Vidor's Man Without a Star (1955): barbed wire versus the open range. Julie London has a relatively insignificant role as Cassavetes's intended wife but she does sing the title song beautifully. Parrish's direction is passionate but fairly impersonal, though he had originally worked as an editor for John Ford, among other directors. The film is populated by an impressive group of character actors who span the history of Hollywood, from Donald Crisp (who goes back to silent films, appearing in movies by D.W. Griffith) to the more modern Royal Dano and Charles McGraw. The Cassavetes/Taylor struggle of the two brothers is the major theme, but the film also includes references to the Civil War and the benefits and deficits of the beginning of civilizing the West. Stolid Robert Taylor, near the end of his career, represents the past while Cassavetes, near the beginning of his career, represents the rebellious youth of the future. For those who who enjoy London's singing I recommend her role in Frank Tashlin's The Girl Can't Help It (1956), where the distraught and inebriated Tom Ewell puts on a record of "Cry Me a River" and sees the image of London, his former lover, singing it wherever he turns.
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