Horrible, fascist and poorly acted

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

How wonderful it is to see this fine actress carry a film and carry it so beautifully.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

It vies with The Naked Spur as the best Stewart-Mann western, although Bend of the River and Winchester '73 are also excellent. What I particularly like about this Stewart-Mann western is Stewart's hero is presented as flawed, often maimed psychologically, and never more so than here. The hero is superior but not superhuman. He's very human. Jeff Webster is taciturn, even righteously egotistical. Which, I guess, means Stewart is playing against type and does so expertly. Jeff's credo is totally solipsistic: he'll look out for himself (and in a pinch his sidekick Walter Brennan) and no one else. Of course, there's a price to pay. In a sense, Stewart's take and that of the movie is on It's A Wonderful Life. Only here Jeff Webster gets to see the effects of his willful withdrawal from the community in real time. Definitely top-notch.

This being the northern I enjoyed most, it doesn't prompt me to analyze it (which remains a trustworthy criterion for an accomplished work, because its accomplishment and exquisiteness make needless the explanations and generalities, one doesn't analyze works this good). However, it requires thought; the 1st experience has been awesome. Made by the best director of westerns, written by B. Chase, a lavish work, lovingly and exquisitely crafted, it has a dependable cast: Brennan, Flippen, even Elam in a bit role (none of them as convincing as the less famous guy who plays the villain), and exquisite northern landscapes; it certainly is unfair to deem it a genre movie, but it's an adventure movie.The man from Wyoming's tale has the bitterness that the director accustomed us to, with life in the west, or north, being rough; and thus while some things allude to the crushing burden of life, others belong to the tropes of a conventional tale, with altruism and respect, though those characters die or succumb or drown. The unpredictability of Stewart's character comes not from his being mysterious, but on the contrary, from being ordinary, unglamorous; he's not written as a mysterious guy, but as an ordinary, shrewd and grumpy cowboy from Wyoming. But it also comes from Stewart's style, which allowed him to set a chilling undertone, and to give his '50s roles a chilling romanticism. Stewart's acting gets moments of eeriness, and others of lyrical emotion (as when discussing with the freckled girl); the result being an ordinary guy, played as a striking one, with a chilling, uncanny glamor, so that ordinary actions get a lyrical twist, reminding us of Hopkins' words about Brando playing a cowboy …. None of the characters is a hypocrite. Even the scary ones have a plainness and thoroughness.

Jimmy Stewart was one of the more versatile leading men of his era. Light comedy, heavy drama, Westerns, biographies. You name it, he could do it. But that didn't mean that his characters were always very likable. Sure, there were the George Bailey types and the Ransom Stoddard types. But sometimes Stewart played the not so nice guys -- the antiheroes. Personally, I don't like that Stewart so much...and that's what he is here in "The Far Country". Maybe Stewart had to do it since, in reality, he was apparently such a nice guy, so he needed to sometimes fight against the kind of character that represented who he actually was. The only reason to root for Stewart's character here is because he's better than the really bad guys. Nevertheless, he lets people down -- or wants to -- over and over.The big star here is the gorgeous scenery from Banff to Jasper in the Canadian Rockies. Unfortunately, the film has not been restored,, and it's not half as beautiful in the film as if the Technicolor were refreshed.The wonderful Walter Brennan is here as sidekick...at least he lives through most of the film. Ruth Roman is good as a saloon owner who is torn between the real bad guy (John McIntire and Jimmy Stewart). Corinne Calvet...why? She was more at place with Martin & Lewis. John McIntire is superb as the bad guy; a much underrated character actor. Jay C. Flippen is also here.Of course, just before the end of the film, Jimmy Stewart's character has a change of heart. And becomes the hero. Sell, too late for me to emphasize with the character; too many bodies washed under the bridge. So, no, I don't admire this Jimmy Stewart film...at least in terms of Jimmy Stewart's character.For me, thumbs down. A rare decision for me when it comes to a Jimmy Stewart film.

Not Quite as Intriguing as Other Mann/Stewart Westerns, it Still Remains one of the Better of the Genre Despite a Lighter Tone and Fanciful Banter and Lover Interests. The Cinematography is Appealing and the Snow Draped Atmosphere is Welcomed.But John McEntire's Bullying Lawman becomes Almost Unbearable and Jimmy Stewart's Anti-Hero takes so Long to find His Calling that the Climax can Seem like a Long Time Coming. Still, the Tension is Always there and there are a Few Scenes that are Classic Anthony Mann.The Involvement of Civilization's Impending Intrusion and the Terrifying Consequences are Implemented with Enough Dread to Keep Things on Edge, but the Sprawl of the Town Folks and Their Innocent Naivete are a bit of a Drag and at Times a bit Hokey.When the Bell is Finally Rung for the Last Round it is Somewhat Rushed and not Prime Mann Gunplay. Overall this may not be the Best of the Director/Star Collaborations but in the Overpopulated Western Genre Still Stands as Top Tier Entertainment. It's just that Anthony Mann and James Stewart Made Five Great Films Together so this One has some Strong In House Competition.