The Way of the West: A dusty, dusty slog

Is this thing worth the watch?

Honestly? Only if you’re a completionist for B-westerns or just really, really love the sound of horses clopping on dirt. It’s a flick for folks who find comfort in the predictable rhythm of mid-century quickies.

If you prefer movies with, you know, actual plot development or dialogue that sounds like humans talking, you’re gonna hate this. It’s stiff. It’s dry. It’s exactly what you’d expect from a Saturday matinee filler.

Cinematic perspective: Exploring the visual vocabulary of The Way of the West (1934) through its definitive frames.

Gordon is our guy. He’s undercover, which mostly means he wears a slightly different hat than the other cowboys. The tension between the sheep people and the cow people feels like it’s been recycled from a dozen other scripts.

When Horton kills Parker, it’s supposed to be a big, shocking moment. Instead, it feels like a chore. The sheriff lets Gordon go, which is nice of him, I guess. It’s the kind of plot convenience that makes you want to check your watch. 🕒

Cinematic perspective: Exploring the visual vocabulary of The Way of the West (1934) through its definitive frames.

Small stuff I noticed

• There’s a moment where a hat falls off and nobody acknowledges it. The scene just keeps going.
• The background extras in the saloon look like they’re trying not to laugh.
• The horses seem more tired than the actors.
• I’m pretty sure I saw the same rock formation in three different states.

It’s not as lively as Buffalo e Bill, which at least had a bit of a pulse. This one feels like it’s sleepwalking toward the credits. Sometimes I wonder if the crew just wanted to go home and eat dinner.

Watching this reminded me of the thin, hollow feeling you get from The Notorious Lady, though at least that had better lighting. Here, everything is just… flat. The shadows are long, but the character motivations are nonexistent.

Cinematic perspective: Exploring the visual vocabulary of The Way of the West (1934) through its definitive frames.

The dialogue is the real killer here. It’s all "You can’t pin this on me" and "I’m taking you in, Horton." Every line sounds like it was written on a napkin in a diner ten minutes before cameras rolled. It’s not necessarily bad, it’s just empty.

The action beats are clunky. You can practically see the stuntmen waiting for their cues to fall over. It’s not quite as chaotic as Kentucky Handicap, but it shares that same frantic energy that doesn't actually go anywhere.

Anyway, don’t expect a masterpiece. It’s a movie that exists. It fills a slot. It ends. That’s about all you can say for it. Maybe go watch something else if you have actual things to do with your evening. 🤠