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By
NICK ZEGARAC
Fritz Lang’s The Return of
Frank James (1940) is producer Darryl F. Zanuck’s
irreverently misguided attempt to create yet
another deity from an outlaw. The overwhelming
critical and financial success of Jesse James
(1939) necessitated this sequel, starring Henry
Fonda in the title role; a reprise from the
original film.
The plot begins in earnest; Frank is living
obscurely as a farmer with Clem Grayson (Jackie
Cooper), the son of one of the gang’s ex-outlaws.
He has forsaked his past and returned to the land.
However, when word eventually comes down from the
hills that it was none other than gang members,
Robert (John Carradine) and Charlie Ford (Charles
Tannen) who put a couple of slugs into Frank’s
brother, Jesse, old memories begin to stir.
At first, Frank is content to let the law catch up
to the Ford brothers. But when he learns of both
their acquittals and the fact that their defense
was paid for with railroad blood money, Frank
decides its time for a little old-fashioned
vengeance.
Enter precocious reporter, Eleanor Stone (Gene
Tierney). She’s fascinated by the tales of Jesse
James and is determined to pen his memoir…well,
sort of, as a serial for her paper. Frank tells
Eleanor stories of his brother without revealing
his true identity and eventually he and Eleanor
develop an attachment – one that is inevitably
doomed to premature extinction. But Eleanor is not
easily brushed aside, even after she learns
Frank’s true identity.
Lang’s direction on this sequel is more spirited
than director Henry King’s on the original. There
is movement and cohesion between scenes, more of
an emotional pulp to the meaty center of action.
Fonda departs from fact in his characterization of
Frank James, but the stoic maturity he brings to
the role is complimentary to Tierney’s rather
priggish awkwardness. In the spirit of studio
economy, music and effects tracks from Jesse James
are reused in this film (and also, in Fox’s lavish
In Old Chicago).
Fox Home Video does not mangle this DVD
presentation quite as badly as their efforts on
the original film, though this presentation is far
from perfect. In direct comparison to Jesse James,
The Return of Frank James exhibits a decidedly
brighter image with more detail and color
saturation. The Technicolor mis-registration that
plagued virtually the entire presentation of the
original film, only sporadically reappears on this
outing. Colors are more refined with flesh tones
still appearing either much too orange or fairly
pinky. Blacks are deep and solid. Whites adopt
either a blue or yellow tint. The audio is
presented in original mono and rechanneled stereo.
Both are adequate, though just barely. There are
NO extras! |
