Review of The Conqueror (1956) by Everett J — 09 Jul 2008

The Conquerer.

directed by Dick Powell.

written by Oscar Millard.

starring John Wayne, Susan Hayward, Pedro Armendáriz, Agnes Moorehead, Thomas Gomez, John Hoyt, William Conrad, Ted de Corsia.

Yes, it?s one of those casting decisions that simply defies explanation. John Wayne, the iconic, clearly identifiable personality attempts in this picture to slip behind the skin of one Ghengis Khan when he was simply known as Temujin. There?s not a single moment where he?s believable and one never forgets its John Wayne in a dodgy fu-manchu mustache. With his distinctive line readings, intonations and gestures it proves impossible to accept that this is indeed a film about Ghengis Khan.

Howard Hughes produced this film and he was apparently so embarrassed by it that he pulled all copies until 1974. With such an inestimable cast and high budget costs one would expect this film to at least make a play with realism but alas we get nothing remotely approaching it. What we do have is the redhead, exceedingly white Susan Hayward playing Bortai, the daughter of Kumlek (Corsia), leader of the hated Tartars.

The story involves the exploits of Temujin, or Genghis Khan. Mostly it?s a love story between Temujin and Bortai. Temujin kidnaps her as the film opens because he ?make her his wife?. There are many scenes where Temujin shoves Bortai about, strongarming her, pushing her down on the bedding, slapping her across the face. I suppose this is to demonstrate the Mongol?s primitive lovemaking technique as well as his position of authority vis-a-vis his women. At any rate, it plays for unintended laughs eventually because it?s such a pronounced element of the film and its relentlessly put on display.

Temujin is supposed to be an almighty warrior, fierce, brutal, and determined to accumulate as much territory as possible. There?s nothing pressing about Wayne?s Temujin. There?s nothing of the warrior spirit in him and this makes for a rather difficult viewing experience. One wants sheer brutality, examples of the legendary character who once held the largest empire in known history. Wayne certainly manages the physical aspect of his character with a tenacity and presence that is undeniable. He manages to convey authority simply by using his posture and it works within the context of the film. However, as soon as he speaks, the spell is broken.

There are poetic moments sprinkled throughout this film. There are a series of dance numbers that are intoxicating and highly erotic. They are exquisitely crafted movements that allow one nearly to forget the debacle that is playing out around them. It isn?t that this is necessarily a terrible story; it?s merely that there are far too many elements that stray mightily from what one would expect from a story about this era in history. I just can?t imagine that Temujin?s army were drawn from the American Indian population. I?m sure there are plenty of historical inaccuracies as well but I?ll leave those to students of the Mongol warlord and his band of merry men.

Aesthetically and stylistically this film lacks a certain integrity throughout. The costumes on the dancers are the brightest aspect of this film as the rest of it is fairly drab and uninspiring. There aren?t any moments of grave and lasting wonder as the story unfolds and its difficult to become particularly engaged with the story. This moves beyond the performance of John Wayne although a believable Temujin would have gone along way to creating a texturally coherent film. The fighting sequences seem to consist almost entirely of many men falling hard off of horses. That?s about it, really. Man gets stabbed by spear, man or man and horse fall into a crumpled heap. Yes, it?s not the most inventive death sequence I?ve ever encountered but somehow it makes sense in this film.

The film lacks energy and seems to stumble about languidly in search of a discernable plot. The focus on Temujin getting the girl becomes tedious quickly as its made clear that this is going to turn into an insufferable love story that merely happens to have thirteenth century warrior trappings. Still, it?s fairly entertaining when Bortai is fending off the advances of Temujin. Conversely its excruciatingly disappointing when she decides, seemingly on a whim, that she actually does love Temujin after all. From that point on, it?s just about another battle and the consolidation of the beginning of empire. That part is pretty fantastic, considering what actually took place once Ghengis Khan earned his name and became one of the seminal figures on the world?s political stage.

As mentioned, John Wayne seems lost in this production. He?s rough and tough enough, he knows how to enter a scene, he?s got the physicality for the job?the only problem is he?s John Wayne and he is unable to divest himself of that simple fact when making the film. We never forget who he is and that?s a problem when making a historical epic film. Susan Hayward fares only slightly better as is clear she?s an American Woman trying desperately to convey that she?s actually a thirteenth century princess. Still, her hardness is certainly delivered convincingly as she employs various gestures to relate her lack of interest in Temujin. The secondary performances are not necessarily believable either as the actors seem to be suffering from a lack of understanding regarding what kind of film they imagine they are appearing in. Agnes Moorehead has a sharp edge that she implements readily. Pedro Armendáriz is a bit more convincing as Temujin?s blood brother and potential betrayer. He?s easily the best thing in this film save the dancers and he manages to create legitimate tension throughout.

Overall, John Wayne is simply the wrong choice for this role as it turns into merely a Wayne vehicle with everyone else falling dutifully in line behind him. Susan Hayward does manage to stand up to him in certain scenes but it remains clear who?s film this is. Plus, there?s the fact that nearly half of the people involved in the production of this film developed cancer at some point in their lives do to nuclear testing being administrated by the U.S. Government just up from the shooting sight. So, a mediocre film is affixed with a terrible curse. Maybe it?s not the nuclear testing at all but revenge from the Mongol for brutally assaulting his memory with such calamity.