DATELINE: Don’t Fence Clint In!
A couple of song and dance men?
Back in 1969, Clint Eastwood had just returned from his stint on the spaghetti western circuit. He wanted to break molds—and went on Mr. Ed,then made a musical Western. It’s not easy to turn Clint into Tab.
Paint Your Wagonhad credentials to stagger into a gold-digging mode. Josh Logan directed another 1951 classical musical from Broadway. Paddy Cheyevsky (urban TV legend) wrote the screenplay—another unlikely figure out West.
The only true singer in the cast allegedly was Harve Presnell who stops the movie with his stunning rendition of “They Call the Wind Maria.” Even Logan in his inepti director style could not screw that up.
As far as Clint singing, we had forgotten that in 1962, on the heels of every TV and movie actor with heart-throb fan clubs made a musical album: as we recall, Sal Mineo, Richard Chamberlain, Tab Hunter, and even Clint Eastwood sang.
The big difference was that Clint’s album of country-western tunes was actually a hit. You need to hear his version of “Don’t Fence Me in.”
Lee Marvin also sings in the style of Rex Harrison—and he is witty and delightful. He also dances cheek-to-cheek with Ray Walston, which certainly puts Fred and Ginger to the test.
The film is an all-male homoerotic gold rush until Jean Seberg shows up: beautiful and damaged. We cannot imagine what off-screen between-takes conversations went on during this production.
There are enough offensive ethnic stereotypes to make this film about as incorrect as any Western of the 1960s. And, in a true 1960s mode, the film is nearly three hours long—really.
If you like surprises and changes of pace, you cannot go wrong with this Western that seems to be the exclamation point and end punctuation to the era of Hollywood westerns.