The title says it all. James Stewart is the eponymous stranger who rides into town delivering a load of supplies to an isolated outpost called Coronado. But that’s not his main business at hand. He’s searching for someone because he has some personal matters to take care of. In this small regard, Stewart heads a cast of enigmatic characters with hidden agendas and histories we piece together over time.
Within the opening frames what becomes evident immediately are the million dollar skies and cotton candy clouds captured in CinemaScope and vibrant Technicolor by veteran cinematographer Charles Lang.
At the local general store, the stranger meets the demure shopkeeper Barbara Waggoman who welcomes him to town though she seems less than thrilled to receive his goods as she’s intent on closing up her father’s shop since he died. Otherwise, she tips him off to the salt reservoir outside of town so he and his partner Charley (Wallace Ford) can make some more dough. I’ll always hold a soft spot for Cathy O’Donnell since The Best Years of Our Lives (1946) and nothing has changed here. She is as soft-spoken and delightful as ever.
Unwittingly this sets them up with the film’s reoccurring point of conflict. Because they begin mining the resource not knowing it’s technically located on the infamous Barb Ranch run by a ruthless cattle baron (Donald Crisp) and yet he’s nothing compared to his crazed son toting an inferiority complex.
He rides in on them with his band of heavies and proceeds to raze all their wagons and shoot every last mule they have. Talk about overkill for mining salt. It’s a textbook overreaction that’s seemingly uncalled for but it only makes Dave Waggonman’s other behavior more believable.
In town, fisticuffs erupt in the middle of a cattle stall as Lockhart handily takes on his adversaries thanks to the help of a plucky woman named Kate Canady. With it Aline MacMahon makes a crackling entrance as one of the film’s most joyously rousing characters.
The picture continues to be a contentious family affair on the whole. The quiet strength of Donald Crisp resonates as a hard man who you know holds onto some regrets for the empire he has forged. Not least among them the entitled softness of his only son. At the same time, he loves the boy dearly and will do anything to maintain his land holdings.
Arthur Kennedy rarely gets a fair shake as an acting talent but yet again much like Bend of The River, he is a vital component of this particular story. Here he is Vic Hansbro, Alec’s loyalist workhorse and the man trusted to rein in Dave. Though not a blood relation Vic has been with the family for a long time and is planning to marry Barbara. He’s a great deal more rational than Dave but that doesn’t mean he’s not willing to fight for what’s in his best interest whether it’s against Lockhart or his longtime boss. He’s not about to be pushed around.
A single moment seared into our consciousness unfolds after the boy Dave ambushes Lockhart only to get shot in the hand. But he’s not about to take it like a man. Once his cronies are there to back him up he makes his rival pay in one of the most vindictive scenes out of the Mann canon. Jimmy Stewart gets treated to some eye for an eye maliciousness which only makes his personal vendetta smolder.
He’s intent on discovering the man who’s been giving the Apaches repeating rifles. Because he has a personal stake in it as do most everyone else in the story. It gets him in trouble nosing around. On one such occasion, Canady fishes him out of prison for the back alley stabbing of a man (Jack Elam) that he didn’t commit. As recompense, she asks him to finally accept the offer to be foreman of her ranch and he reluctantly agrees.
You see she has long been a thorn in the side of Alec. She’s been one of the few people he hasn’t pushed out of the territory. But maybe it has something to do with their past history together.
The final act brings everything to a stellar apex as Alec catches wind of the missing shipment of rifles and Vic begins to lose his cool as he does everything in his power to protect his boss, harming him in the process. The stage is set for a showdown, Will finally able to make his peace with Apaches also out on the warpath. It exceeds our expectations in typical Mann fashion.
Though regrettably they would never work on another picture together again based on a minor creative disagreement, James Stewart and Anthony Mann left us a stellar body of work including a line of five western pictures that remain a harrowing testament to the genre. If it must be the end, then The Man from Laramie is a fine capstone to go out with.