The Left Handed Gun (1958)

Director:

Arthur Penn

Writers:

Leslie Stevens (screenplay)
Gore Vidal (play)

Release Date:

26 September 1958 (France)

Genre:

Biography | Western

Tagline:

This is William Bonney, a juvenile "tough" from the back-alleys of New York... a teenager wanted dead or alive throughout the West. This is the screen's first real story of the strange teen-age desperado known to legend as "Billy the Kid"...

Plot:

After his employer is murdered by rival cattlemen, a troubled and uneducated young cowboy vows revenge on the murderers,

Plot Keywords:

Cowboy | Billy The Kid | Revenge | Cattleman | Murder

Cast

  (Cast overview, first billed only)

Paul Newman	...	Billy The Kid
Lita Milan	...	Celsa
John Dehner	...	Pat Garrett
Hurd Hatfield	...	Moultrie
James Congdon	...	Charlie Boudre
James Best	...	Tom Folliard
Colin Keith-Johnston	...	Tunstall
John Dierkes	...	McSween
Robert Anderson	...	Hill (as Bob Anderson)
Wally Brown	...	Deputy Moon
Ainslie Pryor	...	Joe Grant
Martin Garralaga	...	Saval
Denver Pyle	...	Ollinger
Paul Smith	...	Smith
Nestor Paiva	...	Pete Maxwell

Runtime:

102 min

Country:

USA

Language:

English | Spanish

Color:

Black and White

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono (RCA Sound Recording)

Certification:

Australia:M | USA:Approved (certificate #18709) | UK:PG | West Germany:16 (nf) | Spain:13 | Portugal:M/12 | Canada:14A (video rating) | Finland:K-16 | Norway:16 | Sweden:15

Filming Locations:

Columbia/Warner Bros. Ranch - 411 N. Hollywood Way, Burbank, California, USA

Company:

Haroll Productions

Trivia:

Interestingly, the title of this movie promotes a common misconception that was proved untrue in 1986. Two almost identical tintypes of Billy the Kid were taken at the same time in 1880. The original of one tintype disappeared years ago. The second original tintype was preserved for years in the Sam Diedrick family and came to light only in 1986. Since tintypes are reversed images, the picture from the first tintype led to the myth of the left-handed gun. After the second tintype came to light, the reversed image was reversed to show the Kid as he actually posed, with a Winchester carbine in the left hand and his holstered Colt single-action on his right hip. See Utley, Robert M., Billy the Kid, A Short and Violent Life, University of Nebraska Press, 1989. Statement following page 110 alongside the picture of Billy the Kid.

Goofs:

Factual errors: The film is about western outlaw Billy the Kid, who was in fact right-handed.

Quotes:

McSween: [about the murdered Tunstall] Lord God, this was a quiet man. He lived the way a man ought to live. He did not lie. He did not hurt. He listened to any man who spoke to him.

Movie Connections:

Featured in Edge of Outside (2006)

It Ain't Hud

I wonder what the mature Paul Newman thought of this early movie performance. Of course, 'mature' is a relative term since he's already 33 here, well beyond the 'kid' range. In my little book, it's the most mannered and misdirected acting of his long and distinguished career. It's almost like he's working at an excess of James Dean. That wouldn't be surprising since the screenplay's Billy comes across as more misunderstood youth than cold-blooded killer. I guess this is the first of director Penn's efforts at rehabilitating notorious American outlaws, leading up to the glossy Bonnie and Clyde (1967).

The movie itself is pretty good, the open range locations even looking like eastern New Mexico, while Penn uses them to good effect. But it's really James Best as the ill-fated henchman Tom who steals the film. His supporting role manages a certain poignancy that should have come from Billy, but doesn't. With the right breaks, I think Best could have carved a real niche in films. Speaking of supporting players, with the exception of the cartoonish Moultrie (Hatfield), they appear recruited from the many TV Westerns of the day, especially the familiar Denver Pyle and the classy John Dehner.

Penn establishes himself here as a moviemaker to watch with a number of nice touches— having Pyle squint into the sun just before the fateful moment, the lone boot left standing in the road, and others. I'm kind of sorry that the baby-faced Audie Murphy didn't get a shot at Billy's role. Visually, he's perfect. Plus, surprisingly for that boyish appearance, he could do a killer-stare to make you believe he killed 100 Germans during the war. Also, Murphy could have made that key facedown scene with Joe Bell (Pryor) as genuinely chilling as it should be. For whatever the charming Newman's considerable skills, being downright mean is not one of them. Anyway the movie remains an interesting entry on the road to 1960's-style rebellious movie-making.