Devil's Doorway - Warner Archive Collection

"An Indian without land loses his soul."

In a nutshell, that's the crux of Devil's Doorway, a little-known yet deeply affecting Western that searingly examines racism in post-Civil War Wyoming and starkly depicts the manipulation and marginalization of Native Americans by greedy, corrupt, and bigoted white men. This sober, somber movie, directed with insight and empathy by Anthony Mann, tackles a shameful subject with uncompromising grit. Watching the drama play out is often a wrenching experience, largely because the shockwaves the era produced continue to reverberate today.

Robert Taylor stars in arguably his most offbeat role as Lance Poole, a highly decorated Civil War soldier who returns to his hometown after the fighting has ended, but doesn't get the hero's welcome a Medal of Honor designee deserves. The reason? He's a member of the tight-knit Shoshone tribe and his family owns a large parcel of lucrative land nearby...land the smug, prejudiced men who run the town would love to seize.

Five years later they get their chance. Lance has become a wealthy cattle baron, but attorney Verne Coolan (Louis Calhern), who reviles him, promises to enact a law that allows homesteaders to claim Native American acreage as their own. Lance vows never to vacate his ranch and turns to the town's only other lawyer for help. That lawyer, much to Lance's surprise, is a woman. Orrie Masters (Paula Raymond) is sympathetic to Lance's plight and hopes to negotiate a compromise, but as townsman Zeke Carmody (Edgar Buchanan) bluntly opines, "An Indian ain't got no more rights than a dog." A violent showdown looms, but Lance refuses to back down and force his people to face confinement on a reservation.

Devil's Doorway was one of the first movies to champion the Native American cause and cast aspersions on the ruthless takeover of their land. Along with Broken Arrow, which was released the same year (and has sadly overshadowed Devil's Doorway ever since), it also broke ground by humanizing Native Americans and portraying them as something other than violent, marauding savages. Mann, who would continue to bring substance and modern sensibilities to the western genre throughout the 1950s, mined similar territory in the previous year's Border Incident, another racially charged film that brutally exposes the complex issues facing migrant workers in contemporary California.

The script by Guy Trosper, who would adapt Birdman of Alcatraz for the screen a dozen years later, paints an uncompromising portrait of an impossible situation and the innocent, persecuted victims caught in the maelstrom. The irony of a Native American soldier who fights against prejudice and oppression only to experience them firsthand in his own backyard is devastating. Orrie tries to help, but like so many bleeding hearts she won't get her hands dirty enough to make a difference. In addition to racism, Devil's Doorway also touches upon sexism, and while I hoped Orrie would rise up against the domineering men determined to quash the Native American spirit, her steadfast loyalty to the law - no matter how repugnant - and blithe acceptance of the fact that she's a woman living in a man's world are more realistic reactions.

Devil's Doorway pre-dates Killers of the Flower Moon by almost 75 years, but the two films explore similar themes. Racism and sexism aside, both examine the insidious nature of white greed and festering resentment that stems from minority success and affluence. Though it's evident early on that Devil's Doorway will end badly for Lance and his people, we're not prepared for the powerful imagery of the denouement. Mann is a master at depicting lone wolves who fight against a corrupt system and refuse to back down even when the deck is stacked against them, and he's at his best here.

It's always tough to accept Hollywood stars portraying characters of a different race, but it was common practice during the Golden Age. Though Devil's Doorway earns points for employing a few Native American actors (most notably Chief John Big Tree in his final film role as Lance's father), casting Taylor as a Native American is a stretch. I suppose the dark makeup he dons was necessary to emphasize the racial divide between Lance and Orrie that prevents them from acting upon their mutual attraction (though they come shockingly close, at least for 1950), but the fact is Taylor doesn't need it. He puts his heart and soul into Lance, filing an impassioned performance that hammers home the movie's messages. Taylor can be wooden at worst and bland at best, but he rises to the occasion here.

James Mitchell, who had just portrayed a Mexican in Mann's Border Incident, takes on another ethnic part as Lance's right-hand man, and such fine supporting actors as Calhern, Buchanan, Marshall Thompson, Rhys Williams, and Spring Byington contribute colorful work. Raymond is adequate as Orrie, but an actress with more gumption and maybe a slight chip on her shoulder would have better served the film and generated more heat with Taylor.

Devil's Doorway may be unheralded, but it's a shame it has flown under the radar for so many years. Hopefully this Blu-ray release from Warner Archive will give this well-crafted, important western the attention and respect it has long deserved.

Vital Disc Stats: The Blu-ray
Devil's Doorway arrives on Blu-ray packaged in a standard case. Video codec is 1080p/AVC MPEG-4 and audio is DTS-HD Master Audio 2.0 mono. Once the disc is inserted into the player, the static menu without music immediately pops up; no previews or promos precede it.

A brand new HD master struck from a 4K scan of the best preservation elements yields a high-quality 1080p/AVC MPEG-4 transfer that faithfully honors the always arresting cinematography of the great John Alton. Grain is a bit excessive at the start of the film, but it settles down fairly quickly, resulting in an organic film-like image that oozes depth. Excellent clarity and contrast, deep blacks, bright whites that resist blooming, and nicely varied grays distinguish the picture, which also features good shadow delineation and sharp close-ups that highlight pores, wrinkles, facial hair, and isolated blemishes. Background elements are easy to discern, costume textures are crisp, and no nicks, marks, or errant scratches dot the pristine source. A few shots look slightly soft, but they don't detract from the superior nature of this Blu-ray presentation.

The DTS-HD Master Audio 2.0 mono track outputs robust sound. Terrific dynamic range gives the dramatic music score by Daniele Amfitheatrof plenty of room to breathe, while sonic accents like barking dogs, horse hooves, a beating drum, fisticuffs, gunfire, and explosions are wonderfully distinct. Solid bass frequencies supply necessary heft, all the dialogue is clear and easy to comprehend, and no age-related hiss, pops, or crackle intrude. Westerns demand rootin' tootin' audio and this track delivers the goods.

Extras are a bit slim on this release, but the cartoons that are included lighten the mood after watching this somber film.

• Vintage Cartoon: The Chump Champ (HD, 7 minutes) - This 1950 Tex Avery cartoon stars deadpan Droopy the dog, who takes on the over-zealous Spike in a high-stakes athletic competition. Hilarious mayhem ensues.

• Vintage Cartoon: Cue Ball Cat (HD, 7 minutes) - Tom and Jerry star in this 1950 William Hanna-Joseph Barbera cartoon that finds pool shark Tom terrorizing Jerry on the billiard table...but guess who gets the last laugh?

• Theatrical Trailer (SD, 2 minutes) - The film's original preview advertises Robert Taylor "in the most unusual role of his career."

Devil's Doorway is a stirring, bold film that sadly still resonates today. Robert Taylor's impassioned performance as the leader of the Native American resistance packs a punch and Anthony Mann's stylish direction keeps us absorbed from beginning to end. A new HD master struck from a 4K scan of preservation elements and remastered audio revitalize this often overlooked 75-year-old film that deserves to be rediscovered. Highly Recommended.

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