Track of the Cat
(1954)
102-103 mins | Western | 27 November 1954
Director:
William A. WellmanWriter:
A. I. BezzeridesCinematographer:
William H. ClothierEditor:
Fred MacDowellProduction Designer:
Al YbarraProduction Company:
Wayne-Fellows Productions, Inc.The film’s title card reads: “William A. Wellman’s Track of the Cat.” Excerpts from the 1817 sonnet, “When I have fears that I may cease to be,” by John Keats were featured in the film. According to the Var review, portions of the film were shot near Mt. Rainier, Washington. An Oct 1954 Var news item reported that the Breen Office ordered two love scenes in the film to be deleted, but producer Robert Fellows requested that the MPAA Production Code reviewers reconsider their decision. The outcome has not been determined. As noted in the LAEx review, the film was “a novel combination of black, white and WarnerColor.” The film was shot in color, but in both indoor and outdoor scenes, director Wellman worked with shades of black and white, creating a stark, monochromatic look, using color sparingly to convey symbolic significance. Some modern sources state that Warner Bros. wanted Wellman to shoot in color and the director complied while maintaining his preferred black-and-white look. However, in studio production notes, contained in the file on the film in the AMPAS Library, Wellman stated that, “for years” he had wanted to do “black and white in color,” adding that the idea occurred to him in a previous film by accident while shooting a color scene of a set dressed for black-and-white.
The LAEx review of Track of the Cat described the psychologically driven film as “a sort of mood story” and warned viewers that it was “not a routine movie.” The NYT called it “a Western with Greek overtones.” Modern sources have called it a “Cold ...
The film’s title card reads: “William A. Wellman’s Track of the Cat.” Excerpts from the 1817 sonnet, “When I have fears that I may cease to be,” by John Keats were featured in the film. According to the Var review, portions of the film were shot near Mt. Rainier, Washington. An Oct 1954 Var news item reported that the Breen Office ordered two love scenes in the film to be deleted, but producer Robert Fellows requested that the MPAA Production Code reviewers reconsider their decision. The outcome has not been determined. As noted in the LAEx review, the film was “a novel combination of black, white and WarnerColor.” The film was shot in color, but in both indoor and outdoor scenes, director Wellman worked with shades of black and white, creating a stark, monochromatic look, using color sparingly to convey symbolic significance. Some modern sources state that Warner Bros. wanted Wellman to shoot in color and the director complied while maintaining his preferred black-and-white look. However, in studio production notes, contained in the file on the film in the AMPAS Library, Wellman stated that, “for years” he had wanted to do “black and white in color,” adding that the idea occurred to him in a previous film by accident while shooting a color scene of a set dressed for black-and-white.
The LAEx review of Track of the Cat described the psychologically driven film as “a sort of mood story” and warned viewers that it was “not a routine movie.” The NYT called it “a Western with Greek overtones.” Modern sources have called it a “Cold War Western” and “CinemaScope’s first genuine weirdie.” According to a Nov 1954 HR news item, because of the unusual technical handling and theme of the story, Warner Bros. considered entering the film in the Venice and Edinburgh film festivals.
In the late 1890s, on a California mountain ranch owned by the Bridges family, old Joe Sam, a former Piute chief who works as ranchhand, alerts the eldest son, Arthur, that their nemesis, a black “painter,” or mountain lion, has returned with the first snow and is killing off livestock. As the gentle Art and his domineering brother Curtis prepare to track down the cat, the rest of the family awakens at daybreak. At breakfast, Curt, who has been running the ranch for the family, bullies his siblings, including spinster Grace and their youngest brother Harold, called “Hal.” Curt takes perverse pleasure in baiting Hal’s visiting girl friend, Gwendolyn Williams. Ma Bridges, their bitter, Bible-quoting mother who dotes on Curt, feels threatened by Gwen and demands to know Hal’s intentions, reminding him that he cannot support a wife. Art, the peacemaker of the family, suggests that Curt, who has maintained tight control over ranch affairs, give Hal a share of the ranch and that the family hold an old-fashioned house-raising, so Hal can be free to start his own family. Art petitions Pa for support, but the older man, a former scholar who has become an alcoholic, says he has not had a say in ranch matters for years. Although Gwen is able to confront Curt while fending off Ma’s coldness and Pa's amorous attention, she is frustrated that Hal refuses to stand up to Curt in her defense. After Art and Curt leave, Hal explains to Gwen that Joe Sam first saw the mountain lion years ago, after it killed the last of his family. Hal says he usually carves a wooden figure of the animal for ...
In the late 1890s, on a California mountain ranch owned by the Bridges family, old Joe Sam, a former Piute chief who works as ranchhand, alerts the eldest son, Arthur, that their nemesis, a black “painter,” or mountain lion, has returned with the first snow and is killing off livestock. As the gentle Art and his domineering brother Curtis prepare to track down the cat, the rest of the family awakens at daybreak. At breakfast, Curt, who has been running the ranch for the family, bullies his siblings, including spinster Grace and their youngest brother Harold, called “Hal.” Curt takes perverse pleasure in baiting Hal’s visiting girl friend, Gwendolyn Williams. Ma Bridges, their bitter, Bible-quoting mother who dotes on Curt, feels threatened by Gwen and demands to know Hal’s intentions, reminding him that he cannot support a wife. Art, the peacemaker of the family, suggests that Curt, who has maintained tight control over ranch affairs, give Hal a share of the ranch and that the family hold an old-fashioned house-raising, so Hal can be free to start his own family. Art petitions Pa for support, but the older man, a former scholar who has become an alcoholic, says he has not had a say in ranch matters for years. Although Gwen is able to confront Curt while fending off Ma’s coldness and Pa's amorous attention, she is frustrated that Hal refuses to stand up to Curt in her defense. After Art and Curt leave, Hal explains to Gwen that Joe Sam first saw the mountain lion years ago, after it killed the last of his family. Hal says he usually carves a wooden figure of the animal for the superstitious Joe Sam, who believes it keeps them safe, but the snow, along with the cat, came before the carving was finished. Meanwhile, as they trail the cat, Art again tries to speak on Hal’s behalf, but Curt refuses to listen. Realizing that the cat has gotten away, Curt returns home alone to get snowshoes and food, so they can continue to track it in the mountains. After Curt leaves, the cat returns and kills Art, and at the ranch, Joe Sam senses what has happened. When Curt shows up for supplies, he again harasses the weaker members of the family and, before leaving, blames the mountain lion, which he claims to be the evil in everybody, for the trouble in the world. Back on the trail, Curt finds his brother’s body and ties it to his horse, but the horse shies from the smell of blood on Art’s cowskin coat. After exchanging his bright red coat for Art’s, he sends the horse home, vowing to kill the mountain lion. When the horse bearing Art arrives at the ranch, Ma lays her son out, admitting to Hal that she and Curt fought Art, who defended the rest of the family. Later, Ma sees Hal and Gwen kissing, and orders Gwen off the ranch, but Pa drunkenly accuses Ma of withholding love. Hal prepares to leave with Gwen, but Ma manipulates him into staying to see to Art’s burial. Frustrated that Hal never stands up for himself, Gwen decides to make the trip home alone, until Hal, for once taking control, orders her to wait until he has finished. Meanwhile, Curt takes refuge in a cave for the night, but finds that the food he brought from home is in the coat he sent back with Art. In Art’s coat pocket, he finds a book of John Keats’s poems and panics when he reads the line, “When I have fears that I may cease to be….” The next day, at the family's simple graveside ceremony, Ma grieves about the things she should have said when Art was alive. Later, as Hal again prepares to leave with Gwen, Ma orders Hal to build a great bonfire to show Curt the way home. Pulling Hal aside, Grace warns him to escape while he can, but, as Ma expects, Hal stays. Meanwhile, Curt, who is still stalking the cat, tries to build a fire. With his last match, he sets fire to Art’s book, but falling snow from a nearby tree puts it out. Thinking he sees a bonfire in the distance, the now irrational Curt runs toward it and falls to his death over a cliff. After three days, despite the peace Curt’s absence brings, Hal and Joe Sam set out to look for him. Mourning that Curt will die with her sin on his soul, Ma recalls that Pa did not want to leave civilization and that all of them, especially Grace, have suffered because of her insistence. On the trail, after Joe Sam finds Curt’s trail leading over the cliff, the cat suddenly appears and Hal shoots it. Joe Sam then announces that there will be no more trouble, because Hal is now the head of the family. Hal and Joe Sam return home, and as they approach the farmhouse, they see the family, now united, working together to keep the bonfire burning.
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