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Flynn's Disillusionment
Errol Flynn stars as an unfairly disgraced Union officer who decides to look out for number one in post-Civil War America. He quickly builds a financial empire, methodically taking over Silver City, a town dependant on its silver mines. Of course, a lot of people have to pay for his ambition and ruthlessness, and in the end, so must he.

Flynn's performance is better than usual throughout most of the film, his own personal sense of disillusionment no doubt contributing. Ann Sheridan, as the feisty woman he loves, is stronger in the first half of the film. Thomas Mitchell, as the sermonizing lawyer, gets some great speeches which he plays for what they are worth.

Unfortunately, the movie's moral message is laid on a bit heavy. A little less talk and a little more action would have been an improvement. Director Raoul Walsh is usually very good at mixing character development with action, but it doesn't come together here. The actors and the director seem "tired" with this film, and the results show on the screen. It's an average Western that probably could have been much more.

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David and Bathseba in the Wild West
Near the end of the civil war courageous cavalry officer Mike McComb (Errol Flynn) burns one million dollars, so that the confederates won't get them. His reward: dishonorable discharge. His promising career as owner of a gambling saloon is thwarted, and so he decides to go west.

He steals the horses and covered wagons from Mrs. Georgia Moore (Ann Sheridan) who needed them to bring machinery to her husbands silver mine. Inexorable and not choosy in his doings, McComb bullies his way to power: The workers in the silver mines lose their money in his saloons, so he decides to become a banker as well. He gives them credit, so that they can lose more money in his saloons and apply for even more credit etc...

Now this western gets the biblical treatment: King David sent Uriah to die in battle because he lusted for his wife Bathseba. McComb sends Mr. Moore to explore a silver mine despite his knowledge that belligerent indians are near...The result is the same: David got Bathseba and McComb gets widow Moore. Well, he loves her, that's at least his excuse when his drunken buddy John Plato Beck (Thomas Mitchell) confronts him. He builds a gigantic castle in the desert. White marbles, imported from Europe, chandeliers from french chateaus, his own private Camelot (Greetings from "Citizen Kane"). But the golden days of die-hard american capitalism are numbered - at least in this film...

Some years ago the author of a Flynn biography wrote that McComb was perhaps Flynn's finest role, so when this film was shown a few days ago I watched with great curiosity, of course. Unfortunately it was rather disappointing. Flynn was certainly one of the slyest and most entertaining stars ever to come out of Hollywood. His autobiography was appropriately titled "My wicked wicked ways" and in the early sixties the famous gossip colummist Hedda Hopper complained jokingly:"Hollywood has become so boring. There has not been one interesting rape or murder case since Errol Flynn died". Sadly, not much of his colorful persona survives on screen. In this film he has moments of dullness, especially in the first half. Sometimes he seems not here at all. He does some wisecracking, but mostly at the expense of honest and straightforward Ann Sheridan, so the fun-factor is low.

He was, no question, slightly past his prime, but the glimplse of despair that appears in his eyes now and then serves the second half of this film (McCombs decline) well. There are some touching scenes when he realizes how much his world has changed. Creditors clear his house, his wife has left him to become the campaign manager of his former best friend and now embittered adversary. Flynn has a great moment when he is surprised with the news, that Thomas Mitchell, whom he knew only as hapless alcoholic, is now to become a mighty senator, able and willing to crush him.

With Ann Sheridan he has a strong leading lady (She was even better in "I was a male war bride" with Cary Grant), but it's Thomas Mitchell who steals the film despite (or because) of his overacting. "Silver River" is a good film, a watchable film, especially when compared with most of the sterile products today's Hollywood has to offer, but it could have been much better.

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SILVER RIVER
Hang on to your Stetson. This is Errol Flynn in one of his best post World War 2 nuanced roles. From the riproaring opening on the Civil War battlefield of Gettysburg, where Flynn destroys a million dollars in Union greenbacks,the way west to Silver City is paved with action,blind ambition,lust and redemption. Mike McComb (Flynn) is a complex character. He is a charming rogue and a ruthless competitor. McComb will traverse any length to have what he wants when he wants it, be it a money making enterprise or another man's wife. Flynn's character is a marvel to watch as he climbs to the summit of power and finally pays the price for his ambition. Supporting Errol in this entertaining morality tale are some Warner Brothers' stock company pros. The lovely Ann Sheridan is both elegant and earthy. Miss Sheridan matches Flynn's on screen charisma frame for frame as the object of desire. Tom D'Andrea as Errol's friend and bodyguard is affable in a solid performance. Thomas Mitchell returns from an alcoholic fog and pulls off a credible performance as McCombs' conscience. And how can Barton MacLane be anything but perfect as the thuggish villian in this unusual western.

Here is a fifty-plus year old movie with some very 1990's character sensibilities.