A Gringo Walks Into a Cantina…

His name, Lucky Gagin . . . or Robert Montgomery for those of you who are looking for the actor portraying this anti-hero. Montgomery, the iconic star, also tried his hand at directing (for the second time), with this rather unorthodox film-noir, Ride the Pink Horse.

Our lead walks off a bus and into the city of San Pablo, a Mexican border town that is getting ready to host an annual fiesta. The audience feels stranded, much like Gagin (who has never been to the foreign locale before), knowing nothing about the suited and fedora-wearing man. We watch one long continuous take as he exits his transport, enters the bus stop, stores a piece of paper in a lock-box and hides the key (in a brilliant piece of film making).

Gagin is on the hunt for Frank Hugo (Fred Clark), a mysterious man who our protagonist is planning on blackmailing. Hugo killed Gagin’s friend Shorty, but did not recover the cheque that his pal was using to fleece the criminal. This piece of paper is hidden in the locked box, waiting for its retrieval.

Yet, it is clear that the man looking for a quick pay day, as well as vengeance, has not planned his course very well. The blackmailer’s first attempt to reach Hugo is thwarted by him being away at the moment, putting the villain and his goons on high alert. Gagin also knew nothing of the fiesta, leaving him with no room to rent. He is directed to a cantina (the very one mentioned in the opening paragraph) by a bellboy. It is in front of the bar that he runs into a cagey young teen for a second time. The girl, named Pila (Wanda Hendrix), seems enthralled by the gruff stranger – having handed him a figurine that protects the holder from danger. It is suggested that she has the second sight.

In a rather humourous scene, Gagin walks into the boisterous bar – though the sight of the gringo brings pure silence (it is likely that a white man has never dared enter the very local establishment). Yet, the quick spending gent soon makes friends with Pancho (Thomas Gomez – in an Academy Award nominated performance), who at first seems to merely be using Gagin for his bar tab. Though, in a rather unorthodox turn for a film-noir, Pancho turns out to be one of the kindest, most selfless and caring characters to ever grace the screen of a noir pic. He takes him back to his humble abode – a one-walled hut overlooking his prized possession, a carousel. As the two drunkards prepare for a night’s rest, they soon realize that Pila once again is following the American – keeping a wary eye on him.

The two have a rather bizarre relationship – with Gagin being crass and harsh to the teen – yet that does not stop her from monitoring the insulting man.

Gagin does eventually get to meet Hugo and is promised a pay day from the man. He is then approached by his femme, Marjorie Lundeen (Andrea King), who tries to convince the gent of following her steps towards earning even more dough. It is hard to read what angle Lundeen is playing, but Gagin is vigilant.

Eventually, the protagonist finds himself with a knife in his back – literally, after fending off two of Hugo’s goons. Pila comes to the man’s rescue, transporting him to Pancho’s merry-go-round. In another impressively filmed scene, Pancho keeps his friend’s hiding spot a secret as he is beaten by two thugs. We observe from the carousel as it turns (Gagin is hidden beneath a blanket beside Pila), watching the shocked visages of the children as they witness the cheerful owner being tortured by the hired hands.

I will simply say that what follows is a rather clever bookend that helps illustrate the original foolhardy actions of Gagin.

Ride the Pink Horse is a solidly scripted story that unfolds in a rather different way than most film-noirs. Gagin’s arch is also unorthodox. What we originally see is the typical anti-hero: an unfriendly, world-weary criminal who is on a collision course with fate – yet, the rather humble, kind actions of the rural Mexican people (mostly Pila and Pancho) help change the man for the better (giving the story a bit of a Casablanca type vibe). And though I will not disclose how the movie ends, the final shots of Pila help illustrate the complicated conclusion (displaying the future, ambiguous uncertainty, regret and other such things).

The visuals must also be complimented. Montgomery and cinematographer Russell Metty create a shadowy crime world that is always just an arms length away from the partying fiesta crowds – making the story feel all the more authentic and real. This, mixed with Ben Hecht and Charles Lederer’s snappy script, which consists of the humour, hard-boiled dialogue and fish-out-of-water danger that is expected in film-noir fare, helps provide a world for our actors to thrive. And they do. Montgomery is excellent as the harsh man who transitions over time. Hendrix is superb as the nervously watchful heroine who has made it her job to keep the cold-hearted man alive. She impressively comes off as a cross between intensely mature and utterly child-like – making her mesmerizing in each and every scene, her soulful eyes and trusting expressions draw us in. Finally, there is Gomez, who reminds me of Nick (Nick Dennis) in the film-noir Kiss Me Deadly – another memorable, likeable and kind-hearted foreigner who befriends a less than affable protagonist. To add a piece of history to this impressive role – Gomez was the first Hispanic actor to be nominated for an Academy Award in what I can call a worthy selection.

Ride the Pink Horse is an atypical film-noir that needs to be seen. Its refusal to fall within the guideline of what is expected of this type of motion picture helps make it stand out – expanding the definition of what a noir picture can be. So, grab a seat on any horse you like, and take a trip ‘round and round’ to see ‘what comes around goes around’ – perhaps you will realize that a carousel can take you somewhere unexpected.