Thunder Bay

Anthony Mann: Thunder Bay (US 1952) with James Stewart as the oilman Steve Martin. He was an oilman also in real life. Photo: La Cinémathèque française.

Le Port des passions / Vihan lahti / Bragdernas man.

Anthony Mann

États-Unis / 1952 / 103 min / 35 mm / VOSTF

Avec James Stewart, Joanne Dru, Gilbert Roland.

Finnish premiere 1 Jan 1954.

E-sous-titres français: Éric LeBlanc.

Rétrospective Anthony Mann

Viewed at La Cinémathèque française, Salle Georges Franju, 51 Rue de Bercy, 75012 Paris, M° Bercy Lignes 14, 6, jeudi le 11 avril 2024.

La Cinémathèque française: " Au large de la Louisiane, l'affrontement entre prospecteurs pétroliers et pêcheurs de crevettes. Après une série d'excellents westerns, le tandem Mann/Stewart s'échappe du genre pour un film d'aventures au sujet captivant bien que démodé, une célébration de l'or noir et du progrès. "

AA: A film about the American spirit, taking chances. A film about capitalism and original accumulation. A film about the clash regarding the exploitation of natural resources, in this story leading to an antagonism between fishermen and oilmen. A film about industry, evoking Henry King (The Winning of Barbara Worth), King Vidor (An American Romance), George Stevens (Giant) and Hugo Fregonese (Blowing Wild).

Thunder Bay was unique in the trajectory of Anthony Mann, widening his horizon, but in retrospect it looks like a natural and organic step in his evolution towards an increasingly fullblown epic mode. 

Scribbling these notes on the retrospective at la Cinémathèque française, I discuss them as "Anthony Mann films". At the time, however, they were not seen that way. It is sobering to examine the vintage poster of Thunder Bay, with four names above the title - the four main actors, James Stewart of course being the biggest star draw. Below the title are four further actors in boldtype. Further below, in the smallest type, are Anthony Mann, the screenwriters Gil Doud and John Michael Hayes and the producer Aaron Rosenberg. Also above the title are "Universal-International presents" and "color by Technicolor" in italics.

Only certain critics, mostly French, saw these as "Anthony Mann films". Primus inter pares was André Bazin who compared Mann with Homer.

Arguably the most important name behind the Mann - Stewart cycle of eight films is missing from all discussions - Lew Wasserman, the super agent whose sensational new approach in promoting talent started with Winchester '73, the first Stewart - Mann collaboration. 

That happened at the turning-point of Mann's transition into the big league. It started with Side Street, The Furies and Devil's Doorway and continued in Winchester '73. (The Furies and Devil's Doorway were filmed before but released after Winchester '73).

Together with James Stewart (and Lew Wasserman beyond the credits) came the producer Aaron Rosenberg who later revealed that Thunder Bay was a James Stewart project. Stewart was a partner with a Texas oilman and wanted to deliver a message that oil production did not affect the environment. Rosenberg produced five of the Stewart - Mann collaborations. William H. Daniels, the cinematographer of the divine Garbo, shot five of them. John Michael Hayes started his four-picture collaboration with Stewart in Thunder Bay, soon continuing in Rear Window.

The cast is fascinating. As James Stewart's partner is Dan Duryea, often cast as a villain in film noir and capable of impressive versatility and sense of humour, like here. His first Anthony Mann role had been in The Great Flamarion, and with Stewart he played also in Winchester '73 and Night Passage (from which Mann backed out). Jay C. Flippen (excellent here as the investor Kermit MacDonough) also belonged to the "Stewart - Mann stock company", playing in five of their collaborations.

In the female lead is Joanne Dru, the fabulous Western star of Howard Hawks and John Ford. In Thunder Bay, Stella Rigaud (Dru) is the most formidable antagonist to the dubious schemes of Steve Martin (Stewart) and Johnny Gambi (Duryea), at least until the fairy-tale twist which validates the oilmen's plans, helps the fishermen to discover the elusive golden shrimp bed at last and leads the adventurers to true love with the Rigaud sisters. The younger sister is played by Marcia Henderson, in 1953 experiencing a dream breakthrough in the movies, also in All I Desire directed by Douglas Sirk.

Two Hollywood star veterans appear as leaders of the fishermen. Antonio Moreno, who had started in Griffith's Biograph shorts, is cast as the father Rigaud whose daughters refuse to obey him. Gilbert Roland was launched as a Latin lover in the silent era and enjoyed a versatile career ever since. He plays Teche Bossier, owner of the Port Felicity Fish Company.

Strengths of the film include Mann's grip on the violent and exciting scenes of hurricanes and armed resistance. He is an excellent action director. Stewart as Steve Martin is the unflinching and unyielding embodiment of private enterprise, also humble, capable of learning from his mistakes and with talent in psychological intuition. He does not seek confrontantion and treats those who think otherwise with respect. He is a hard taskmaster but also a true leader who can command enthusiasm even in the most desperate moment.

A keystone of the plot is the bond between Steve Martin and Kermit MacDonough. MacDonough's secretary Rawlins (Harry Morgan - another member of the "Mann - Stewart stock company", appearing in five of their films together) pursues due diligence and exposes Martin's catastrophic track record. MacDonough has had his share of failure, too, and he is at a dead end as a businessman. But he can read character and trusts Martin intuitively. It's not about failure. It's about learning from failure.

A clean and complete print, mostly of truly good visual quality, but in the beginning there was a feeling like watching a blowup from a faded 16 mm Eastmancolor print.

Today, we look at this celebration of oil drilling with different eyes. Thunder Bay shows the way we were back then.