Andre De Toth's noir-ish western, Ramrod, is notable for its examination of doubles; almost every character has someone else who matches their identity.
Andre De Toth’s Ramrod is a classic film licensed by Olive Films from Paramount, although this indie production was distributed by United Artists and this print for some reason opens with the MGM lion. What matters is that it’s here now, in a print a bit dusty but easily watchable. It stars De Toth’s then-wife Veronica Lake, reunited with the same Joel McCrea who supposedly never wanted to work with her again after Sullivan’s Travels.
From the beginning, it quietly shows off nice lengthy shots (from cinematographer Russell Harlan) that glide sideways for complexly staged actions, usually left to right. This gives an aesthetic unity to a first reel whose script is a confusing snarl of relations and implications based on a story by Luke Short. It’s a complicated, seething, noir-ish western in which everyone deceives everyone else about something or other, and indeed deception is sometimes necessary for survival. Shot in Utah, the story takes place in a part of the country where everybody lives in picturesque canyons that dwarf them; at the risk of making too much of it, the climax finds McCrea’s hero “reborn” from a womblike cave.