David O. Selznick, one of the most influential independent producers of Hollywood's golden age, left an indelible mark on cinema with his 1939 epic melodrama Gone with the Wind, a box office smash that remains one of the most iconic films ever made. As Selznick became aware of the enduring legacy of his magnum opus, he set out to match its success with another bold, expensive, and ambitious project - the 1946 Western melodrama Duel in the Sun, directed by King Vidor.

The film's plot, adapted from Niven Busch's 1944 novel, is set in late 19th century Texas. The protagonist is Pearl Chavez (played by Jennifer Jones), a mixed-race woman whose Creole father, Scott Chavez (played by Herbert Marshall), murders her mother and her lover in a fit of jealousy. He is sentenced to death, but before being executed, he arranges for Pearl to be sent to live with his cousin, Laura Belle (played by Lilian Gish), on the vast Spanish Bit cattle ranch. The ranch is owned by Laura Belle's husband, Senator Jackson McCanles (played by Lionel Barrymore), a wealthy and influential man who makes no secret of his disdain for "half-breeds." The story revolves around the McCanles brothers, who are both attracted to Pearl despite their vastly different personalities. Older son Jesse (played by Joseph Cotten) is a mild-mannered, virtuous lawyer who courts Pearl in a gentlemanly manner, while younger son Lewt (played by Gregory Peck) is a rakish, aggressive man accustomed to getting his way, even if it means resorting to violence. Pearl finds herself drawn to the latter, and the simmering romantic rivalry between the brothers coincides with their father's conflict with an encroaching railroad.

By the time of its premiere, Duel in the Sun had a budget of $6 million, making it the most expensive film ever produced at the time. Selznick ensured that the financial resources were reflected on the screen, with the film shot on location in California and a few studio sets that reasonably passed for Texas. The epic nature of Duel in the Sun is enhanced by the lush Technicolor cinematography and Dimitri Tiomkin's sweeping musical score, which was one of the first to be released as a vinyl album. The film boasts an impressive cast, with a number of notable names both in front of camera and behind camera, including many famous directors rumoured to have lent a hand to Selznick, who was apparently overwhelmed by the demands of his ambitious production. The film's grandeur is most apparent in the dramatic confrontation between McCanles' ranch hands and railroad workers, staged with hundreds of extras in a manner reminiscent of grand historical battle reconstructions.

Selznick was also aware that he couldn't simply repeat the formula of Gone with the Wind and had to offer audiences something new. In his mind, that something was the sensitive issue of racial relations, a taboo in Hollywood at the time. He did this by making the main character a product of miscegenation, something that was frowned upon by most Americans and even considered a criminal offense in some states. Throughout the film, Pearl suffers racial insults not only from the bigoted family patriarch but also from her lover, Lewt. Jesse's positive moral alignment is clearly shown by his willingness to do the right thing by Pearl, even though it might endanger his political career in race-conscious Texas. As a result, Duel in the Sun can be seen as a film ahead of its time in its exploration of these themes.

However, the film's treatment of racial issues is also the reason why it would appear terribly outdated and even insultingly unacceptable to some more "woke" audiences today. Contradictions in Pearl's tragic character can be interpreted as genetic consequences of her "wild" Native American mother's side, while the heavy makeup used on Jennifer Jones to make her character appear less than pearly white borders on blackface.

Selznick also tried to push the envelope in another direction, likely inspired by his adulterous love affair with Jones, who would ultimately become his wife, muse, and star of his latter films . He attempted to turn her into a sex symbol through scenes that were quite risqué for Hollywood standards at the time and skirted the edges of the infamously prudish MPAA Production Code. Pearl's character indulges in skinny dipping and, when suddenly awakened from bed to be summoned to an eccentric preacher (wonderfully played by Walter Huston), she doesn't even bother to dress, hiding her apparent nudity with a blanket wrapped around her body. Jones played this role well, but it's not hard to see why many critics at the time saw it as too exploitative.

The cast is impressive, although the quality of their work varies. The older generation, represented by the grand Lionel Barrymore and silent era superstar Lillian Gish, fares better than the rather bland performances of Joseph Cotten and Gregory Peck. African American actress Butterfly McQueen, in the role of maid Vashti, more or less repeats her part from Gone with the Wind.

Much of the film's content is melodramatic, and there is also an issue with pacing, as the plot takes some time to really get going. However, the general impression drastically improves towards the end, with a finale that is both tragic, action-packed, and quite memorable.

Selznick's film received mixed reviews, but the box office was very good. Although it failed to have the same impact as Gone with the Wind, Duel in the Sun left a strong impression not only on audiences but also on a new generation of filmmakers who would try to use it as inspiration and explore some of its themes in other ways. One such filmmaker was Martin Scorsese, who would become one of the film's greatest champions.

RATING: 7/10 (+++)

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