Track of the Cat

While you might think that "Track of the Cat" is a western (as it's listed as one on IMDb), it really isn't despite its setting and look. Instead, it's more of a soap opera--a saga about a family that is sick to the core. The film begins on a lonely ranch in the mountains--somewhere like Colorado or Wyoming about 1900. On this ranch are three brothers--Curt, Arthur and Harold (Robert Mitchum, William Hopper and Tab Hunter respectively). They live with the rest of their family--the father a spineless drunk, the mother a stern and nasty sort whose bile spreads to those around her (Beulah Bondi) and Arthur's wife (Teresa Wright). A guest (Diana Lynn) is visiting and Harold is lovestruck over her. The home is disrupted when a mountain lion shows up and kills some cattle. Curt is determined to kill the animal--mostly to feed his ego. Arthur accompanies him on this task. However, when Arthur goes from hunter to the hunted, the true dynamics and sickness of the family becomes apparent through the course of the rest of the film. This is NOT a normal or healthy family, that's for sure! And, you also realize that the film really is a family saga that is at heart a soap opera--not a western. Now this isn't a complaint--just an observation about the genre to which this film should be identified. The locale and the mountain lion are just plot devices--the story is really about greed, the disintegration of a family and the decay of the soul. The film is very strange to say the least. While Robert Mitchum is the lead, he really isn't in the film all that much and he plays a very atypical and unlikable sort. And, for the most part, the rest of them play against type as well, though Bondi did occasionally play nasty old matriarchs--and she's mighty nasty here. A particularly strange casting decision was having Carl 'Alfalfa' Switzer play Joe Sam--an ancient American Indian though he was only 26 and not even remotely Indian-like under all that makeup! Add to that the beautiful full color and location shoot, it's obviously NOT a typical film but something very unique. William Wellman did a good job with this one--and the film is quite memorable, if not always pleasant! It's also one of the more unpredictable films of the era that I've ever seen, that's for sure! It's FULL of metaphorical significance and is, like some pointed out, almost like an art film--and a lot like "A Lion in Winter"! Well worth seeing but intensely strange--and a film, believe it or not, produced by John Wayne's production company! Not for everyone, but I sure appreciated and enjoy it.

Oh, a rugged outdoor adventure that I had never heard of--with Robert Mitchum hunting a bad killer cat ...I was looking forward to it! Well there is a reason few people have heard of it...this movie is terrible! I mean, this is the type of movie where you keep on thinking it's going to get better, but it never does. Mitchum's family is losing livestock, then lives, to some big cat. The family calls it a "painter". Don't ask. The old dad of the bunch drinks and says crazy things. Mom is old Beulah Bondi with her weird eyes, quotin' the Good Word and hanging out all day and night with her son's corpse in his bedroom as he rots away. (Don't bother ma, she's corpse-sittin'!) Mitchum found the brother's body, no blood, no nothing, even still has color in his face! Hey, couldn't the makeup folks apply just a little makeup? Look closely and you'll see him shift a little bit after Mitchum puts him on his horse, if you can stand getting that far in this movie. Determined to go get that bad cat, or painter, Bob dons a bright red coat. This is the only color in the outdoor scenes as the director wanted it to look like black and white and shot things in shadows. Don't try to figure that one out. Late in the movie, there's a scene where Mitchum tries to light a fire and the wind keeps blowing out his matches. Finally he gets one going, only to have snow from a tree fall and put it out. It plays almost like a Laurel and Hardy moment. But that is right before the best part--and most action--of the whole movie. Right after he loses his fire, the sun starts coming up, and weeeeeee! Mitchum is so elated he starts running down the mountain side. Then he starts "body skiing". Then, all of a sudden, he falls down a big cliff, screaming like a woman, and is horribly killed. I kid you not. Then handsome Tab Hunter finds his dead body, but hears the cat "growling". He goes behind the bush and kills the cat. We never see that, because this cheesy production must have run out of cash for paying Mitchum so they couldn't afford a fake cat or renting one from a zoo. At the very end, the families old, nutty Indian worker babbles something very Indian-like about what death is all about. Some people don't realize even then that the old Indian is freaking Alfalfa from "Our Gang" in old Indian makeup. No, I am not making that up. One of the worst, slowest moving, dumb "westerns" you will ever see. I think some of the raters here must certainly be offspring of the original dumba%$ producers of this turkey, this rating is way high.

An ambitious but ultimately unsatisfying western that is bound to irritate fans beyond measure, "Track of the Cat" (1954) is an uneasy mix of hunting-the-cat action and sub-Eugene O'Neill playwriting, complete with jarring comic relief and loquacious but indecisive moralizing. Unfortunately, the former is given the short end of the stick in this irritatingly static production which spends an undue amount of time indoors. Mitchum tries hard to hold the film together, but although he plays the main character, he has the least footage. Beulah Bondi and Philip Tonge dominate the action to such an extent, they tend to push the other players off the screen. Only Mitch can stand up to them but he disappears for long stretches. Despite her second billing, Teresa Wright is hardly in the movie at all. Diana Lynn is better served by script and director, but the best performance is delivered by Carl Switzer as an aged Indian.

Track of the Cat (1954) ** (out of 4) Strange but ultimately disappointing family drama hiding behind the Western/Adventure genres. The film tells the story of a dysfunctional family stranded on a ranch during the 1880s. The family is bullied around by the middle son (Robert Mitchum) and his mother (Beulah Bondi) but the others begin to rise up as Mitchum is out tracking a deadly mountain lion. Okay, this is a film I had been wanting to watch for many years but within twenty-minutes I knew I was in trouble and the film never picked up. I was really shocked at how boring this film was considering Wellman was directing it and apparently this was a pet project of his. I'm not sure where to start but I guess we can mention all the family drama stuff, which naturally gets blamed on a bully and a religious freak. All of the drama here lacks any real drama and in fact all the characters just come off so obnoxious that I didn't care what happened to them. Another problem is the entire "track of the cat" with Mitchum wondering around without much to do. It seems Wellman never tries to build any tension in these scenes and one has to wonder why it was even in the story. I'm going to guess the cat was used to throw out that "good vs. evil" theme but it never works. I was also pretty disappointed in Mitchum's performance, which was dry and rather dull but then again I didn't care for any of the other performances either. It was strange seeing Carl 'Alfalfa' Switzer in the role of the elderly Indian and he certainly comes off the best. What does keep the film going is its beautiful cinematography captured in all its 2.55:1 glory. The scenery is another reason to watch the film with the snow covered mountains really coming off quite beautiful.

Nope. Sorry. 1954's Track Of The Cat did not come even close to being what I would call "reasonably worthwhile" entertainment. If you ask me, this decidedly demented movie was just a very-very s-l-o-w, 90-minute torture session that I found almost unbearable to endure. Featuring 3 really annoying, pain-in-the-ass characters (that's the "hee-haw" hillbillies - Ma, Pa and, yes, darling Curt Bridges), this utterly ugly, grind-it-in-your-face story was overloaded with bible-thumping hypocrisy like nothing I've ever seen before (in a Hollywood production from that era). In "Track Of The Cat", almost every character in the story gets their crummy turn at the wheel to either chew up the scenery to shreds, or tear out another character's throat, or else behave like a total jackass of the highest order. Filled to overflowing with endless, grate-on-your-nerves bickering, venomous finger-pointing, and spiteful muck-racking, Track Of The Cat was, unfortunately, not the overlooked gem that I was hoping it would be. And, regardless of its potentially promising cast (headlined by that lazy-bum, Robert Mitchum), this was clearly just one of those truly lousy pictures of the 1950s that's definitely best left forgotten.

A disturbingly dysfunctional family is at the heart of TRACK OF THE CAT, which tries to impose symbolic significance on the threat of the creature that is being stalked by the two oldest brothers. But the tale, filmed in monotonous B&W style with only highlights of real color allowed, is somber, tedious and talky. The performances are standard except for Mitchum who does a believable job as the loutish oldest brother. TERESA WRIGHT, DIANA LYNN and TAB HUNTER do fairly standard work, under William A. Wellman's slow-paced direction. It's a stark and brooding story of an isolated farm family living in a remote area and haunted by the symbolic "cat" of the title. Photographed in muted WarnerColor with effective background music by Roy Webb, its somber wintry atmosphere is well captured in the opening scene but becomes tedious before the story reaches a midway point because a real connection with the troubled characters is never really made. All the cast members have done better work elsewhere. It's hard to believe how matronly and severe TERESA WRIGHT became for this role, only a few years beyond her delicate work as a leading lady in many films of the '40s. WILLIAM HOPPER is effective as Mitchum's outspoken brother. All the interiors are filmed in a style that seems more like a filmed play than a film. BEULAH BONDI as the embittered mother manages to give some gravitas to the story. ROBERT MITCHUM gives his usual sturdy and colorful performance as the oldest son hellbent on tracking a killer cat. TAB HUNTER as the weakest younger brother has less to work with. A fairly interesting, harsh, character-driven tale that should have been much more effective with better dialog and family dynamics.

I've just seen "Track of the Cat" (1954) on TCM. Beulah Bondi plays Ma Bridges. Robert Mitchum is Curt. Hedda Hopper's's little boy William is Arthur. The sister, Grace, who hates Curt, is played by Teresa Wright. Gwen is portrayed by Diana Lynn. Philip Tonge is Pa. Carl Switzer is the hired-hand. Curt is an arrogant bully who pushes the rest of the family verbally and physically. Grace hates it that nobody stands up to him. Tab Hunter is Harold the youngest who's afraid to stand firm. He wants to marry Gwen but everybody, except brother Arthur, is against it. They don't like her. Arthur is the family peacemaker. Ma Bridges most definitely isn't sweet or kind, bitter fits. And Pa is a drunk and a womanizer. And there's the Indian hired-hand, Joe Sam, who's superstitious to a fault. Then we have the killer panther that brings sorrow to the family. The panther causes the ranch problems by killing cattle. That sends Curt and Arthur out after it. Arthur is killed by the cat. Curt goes on his own to stop the animal. Now the family is in turmoil (and always has been) and the bickering gets worse. What happens next? Does Curt make it back? How about Harold? Does he learn to stand firm where his family is concerned? I enjoy good westerns and Wild Bill Wellman directed this one. It's different and it's good. Give it a try!

Early in the film, when Arthur and Curt are out in the snow surveying the dead cattle, snow is falling when the camera is on Arthur, snow is not falling when the camera is on Curt - over and over and over again. This hard to miss goof is only the beginning of a downward spiral for this film. Choppy editing, bad acting and a horrible script await the poor viewer who chooses to sit through this clunker. And should I mention how when the panther/"painter" attacks and kills Arthur, no blood or wound is ever seen?... Even when Curt takes Arthur's coat off... Even when Arthur's body is draped over the horse. This and the fact that we never see the cat, plus the jarring transition between the outdoor footage and the cheesy studio look of the homestead exterior made the whole film look really low budget.

Whenever William Wellman produced a picture, you can expect a deep and profound story with lots of dark sides to the characters and very unusual photography. This film takes place high in the mountains of the Northwest with plenty of snow and the peril of a panther stalking the livestock of farms. Robert Mitchum, (Curt Bridges) is the sort of head of the family and seems to have a clip on his shoulders towards most of his family. His father is an all the time Drunk who is completely worthless and his mother, (Buelah Bondi) Ma Bridges professes to be a Bible Reading Christian, but has a dark side and loves only Curt. If you like a story from 1954 with Veteran Classic actors, this is definitely the film for you.

I liked "Track of the Cat" as a "psychological western" and also thought it could be produced as a stage play. The term "painter" is the way pioneers pronounced the word "panther," as I learned in my Indiana History class. The characters in the story view the cat itself as a supernatural and eternal creature that brings evil, death, and sorrow to the innocence of the valley. I found Joe Sam, the 100-year-old Indian portrayed by Alfalfa Switzer, interesting, mysterious, and downright spooky. Drawing on Native American wisdom and folklore, Joe Sam said the panther always came with the first snow, and he implied the panther was an evil spirit or creature that could not die. As the story progresses, the viewer develops mixed feelings about the old Indian's beliefs, as do the members of the Bridge family. Actually, there is a rational explanation for the panther's arrival in the valley: the cattle, deer, and other game had moved into the valley to search for food and water when the snowfall began. Then the panther, which preyed on such animals, followed them. The old Indian, however, expressed his belief in the panther's immortality when he claimed the "same" panther had killed his wife and daughter during a first snow many years ago. I believe the Indian himself symbolizes the conflicts between (1) life and death (2) the eternal and the temporal, (3) the spiritual world and the physical world, and (4) superstition and rational thought. The Bridge brothers stated the old Indian had been a survivor of a battle between settlers and Indians at least 60 years earlier and that all of the Indian's grown sons had been killed in the battle. They estimated the old Indian was at least 40 when his sons died, so that he had to be over 100 years of age. The old Indian's spryness and ability to lift bodies and heavy objects lead the viewer to believe the Indian himself is eternal. The tragic loss of the old Indian's family foreshadows the likelihood the Bridge family also will die out. Mrs. Bridge, the overly controlling mother, has run off all the marriage prospects her grown children have had, and the brothers fear their generation will not marry and have children. The last marriage prospect is the neighbor Gwen, in whom all the brothers have some interest. However, Mrs. Bridge has met her match as Gwen is determined to marry Harold. In the end, life and love triumph over death when Gwen and Harold decide to leave the ranch, get married, and move to Aspen, the symbol of civilization. Mr. Bridge, the alcoholic father, is a sympathetic and comical character throughout the film, retrieving his whiskey bottles from assorted hiding places throughout the house. From his accent I judge him to be an Irish immigrant from a large city in the U.S. Toward the end of the film, Mrs. Bridge finally admits she had persuaded her husband to move to the isolated ranch where he had felt like a "fish out of water" and had taken to drinking. In the end she does admit to being a catalyst for the dysfunction in the family and accepts Harold's wanting to get married and leave the ranch for Aspen. In the scene where Curt (Robert Mitchum) has the fire go out, I am reminded of "To Build a Fire" by Jack London. There is a sort of naturalism in this scene and throughout the film with its man vs. nature theme. I would recommend this film as a very different sort of western.