Cheap Duel in the Sun (DVD) (Jennifer Jones, Joseph Cotten, Gregory Peck) (David O. Selznick, Sidney Franklin, Otto Brower, Josef von Sternberg, William Cameron Menzies, William Dieterle, King Vidor) Price

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Customer Reviews of Duel in the Sun

The ending of the book had Jesse and Pearl vanquishing the evil Lewt and riding off into the sunset. Looking at the over the top finale of this movie, I wish the producer had stayed with the ending of the book. The lines are laughable ("You know I had to shoot you," cries Pearl. "Yes, dear, I know you did," answers Lewt.)

There are many cliches: Lewt catching Pearl swimming in the nude and not allowing her to leave the water and get her clothes. Pearl throwing herself at another man to make Lewt jealous. Pearl's transformation, where she decides to become a wanton, her facial expression changing to reflect this.

I understand the "dance of the sump" was left out of the film, where Pearl dances for Lewt. It was supposed to be "indecent" but in retrospect might have been a source of amusement to contemporary audiences.

If you are looking for representative films from the Selznick studio, consider the following instead: Gone with the Wind, A Star is Born, Portrait of Jennie, and The Prisoner of Zenda. For MGM, Selznick produced such standout films as David Copperfield and Anna Karenina. For better films pairing Jones and Cotton, look for the films Love Letters and Portrait of Jennie. The two are at their best in those.

This film has Jennifer Jones....what more can you need?
"Duel in the Sun" was David Selznick's attempt to outdo "Gone With the Wind". Sure, it has lavish and sweeping production, glorious cinematography. But nothing can outdo "Gone With the Wind". But it was still a valiant attempt.

The film revolves around Pearl Chavez, a half white/half Amerind girl whose became an orphan when her father was hanged for murder. She was sent to the family of her father's ex-fiancee (Lillian Gish). Unfortunately, the patriach of the family harbors racist attitude toward Pearl ("PEARL??? Why aren't you called POCAHONTAS?!!"). The two son, blond Jesse (Joseph Cotten)the saint and dark haired Lewt (Gregory Peck) the devil both fell for Pearl, and this love triangle eventually leads to the climatic event suggested by the film's title.

As usual, the ever reliable Jennifer Jones demonstrate her talents that other Hollywood actresses can only hope they had. If you are used to seeing Ms. Jones in goody two shoes virginal roles in films such as Song of Bernadette, Since You Went Away, Love Is A Many Splendored Thing, Portrait of Jennie, and even The Towering Inferno, Duel In the Sun shows that she can exude sex as well. Typical of Jennifer's performances, she don't just act with her face, she acted with her entire body as well. She BECOMES the character.

Gregory Peck is also excellent, being a rotten rakish rogue for once rather than the defender of right and virtue we use to get from him in films such as A Gentleman's Agreement and The Paradine Case.

Highly sexually charge in its day, Duel In the Sun was jeered by critics as "lust in the dust". But given how this film has gone on to be a classic, both Peck and Jones can jeer back. Their performances, and the film itself is still remembered and celebrated.

And where are the critics now?
Nuff said.

Epic, Sprawling Horse Opera (Roadshow Edition Review)
Sweeping! Magnificent! Corny! Romantic! A west that never existed is splashed across the screen as only David O. Selznick, the master of such gargantuan Hollywood classics as "Gone With the Wind", "Since You Went Away" and "Rebecca" could give us.
This is not the revisionists west of the 1990's, nor that West of the gritty operatic glamour of Sergio Leone's "Once Upon A Time In The West." You will not find the spare clean and lean beauty of John ford's West. What we have here is the epic telling on a screen that screams to be stretched into widescreen and spills out over the audenience the lush and romantic horse Opera of Pearl Chavez, the McCanles clan and the coming of the railroads in the 1880's.
From the moment the overture replete with unneeded narration begins you know you are in for a melodrama of purple emotions and blood red vendettas. The opening scene is set in a saloon on a scale of a modern Vegas casino. There amidst the wild gunfire of overheated cowboys and insanely spinning faro wheels we are introduced to the Scarlett O'Hara of the West, half-breed Pearl Chavez. As played by Jennifer Jones she is just about the hottest tamale to ever hit the pages of a screenplay expressly written to drive men mad, turn brother against brother and defy a "Sinkiller". What Jane Russell was supposed to be in "The Outlaw" we get in Technicolor spades in the form of Miss Jones.
She takes huge hefty bites of the massive sets and chews them to a fare thee well and in the process creates a wanton nymphomaniacal character of such charm, heat and passion that she is truly a motion picture original. This is the best thing Miss Jones ever did because it is so out of control and beyond the pale of her more subdued performances. Of saints, teenage war brides and ghosts of lost love.
As Lewt McCanles we get the hottest, meanest, most excitingly nasty performance Gregory Peck ever was allowed to give. And what an irresistible bad boy he is. He was never sexier or more wonderful than in this departure from the Peck norm.
Even the usually dull Joseph Cotton manages to rise above his typically dry rolls, but not too much, in the thankless roll of the good brother. He seems a little too old for the part and a little too polished. Someone like Charlton Heston might have been more on the spot.
Lillian Gish steals every scene she is in with quite assuredness and only finds completion from the ever-prissy Butterfly McQueen. In her final scene with Lionel Barrymore Miss Gish makes off with the scene so quitly that you are hit with it's impact only after the fact. Barrymore creates one of his most beloved curmudgeons as Senator Jackson McCanles full of sound and furry and ultimately signifying less than nothing. His introduction to Pearl topped by a sneeringly shocking racial slur that encapsulates his character and time and place.
Another highlight is the cameo by Walter Huston as "The Sinkiller". What can be said of him is only this, pure cinematic magic.
The film unfold with such a sense of grandeur and awe that it sweeps you along to its incredible ending on the wings of epic pure camp poetry. The Dimitri Tiomkin score is a masterpiece and much famed over the years for the incredible call of the bells set piece.
The three cinematographers involved, Hal Rosson, Ray Rennahan, and Lee Garmes paint movie memory after memory with the palate of hot dusty hues that have long been forgotten by audiences of today. To see it now is perhaps more exciting and thrilling than it was in 1947.
All of this mad mixture of melodrama, mush and music was orchestrated by the master showman of his time, the ultimate huckster of smoke and mirrors and consummate barometer for just what we wanted in our early epics of the America that never existed, David O. Selznick, who added the "O" to his name just because it looked better on the marquee. When they say that off heard lament "They don't make'um like they used to." Both Mr. Selznick and "Duel In The Sun" are what they are talking about. If they still made them like this then something would be terribly wrong. Thank god they did make films like this once upon a time and we still have them to lose ourselves in a dream of what never was and what will never be again.