gridoon2018 Made in the glory days of Technicolor, "Passion" is instantly notable for its beautiful cinematography, but it tells a familiar, one-track-minded revenge tale: they killed the main lead's family, so he proceeds to kill the killers one by one (while being pursued by the law himself). There is not much more to the story than that, which makes for a pretty one-note story for an 80-minute film. What gives the film some distinction is Yvonne De Carlo's tomboyish (though clearly sidelined) character, and the snowy mountains where the last part of the action takes place - a rather striking change of scenery. **1/2 out of 4.

MARIO GAUCI Maybe I had been spoiled a fortnight ago by the 'surprising' excellence of Dwan's SILVER LODE (1954), or perhaps I had my mind on other things while it was playing (I had just installed my brand new DVD recorder), or it is simply that the film needed a more compelling villain than Rodolfo Acosta; the fact remains that I was underwhelmed by this first viewing of PASSION. Not that it really has a reputation to uphold or anything but, retaining the services of much of the same crew as SILVER LODE (director Dwan, producer Benedict Bogeaus, cinematographer John Alton, composer Louis Forbes, art director Van Nest Polglase, bit-part actors Stuart Whitman and Robert Warwick, etc.), one can't help but expect similarly satisfying results. At least, the cast is quite good: Cornel Wilde, Yvonne De Carlo (in a dual role as Wilde's ladylike wife and her tomboyish twin sister!), Raymond Burr (as the Sheriff), Lon Chaney Jr. (as a drunken brute with a really loud cackle), John Qualen (as De Carlo's grandfather) and Anthony Caruso (as Burr's suspicious colleague). The film, set in Old California, follows a typical revenge story pattern which, unfortunately, seems not to have inspired Dwan much until the snowbound (or rather studio-bound) finale: in fact, Wilde does most of the killings – barring that of Chaney and Acosta – offscreen! Ultimately, PASSION emerges as a modestly pleasing and colorful diversion that falls short of achieving its potential…especially when judging the end result against similar contemporary Western fare about obsessive odysseys of revenge like Fritz Lang's RANCHO NOTORIOUS (1952) and Henry King's THE BRAVADOS (1958).

bkoganbing Cornel Wilde's role in Passion is something that Tyrone Power might have done or Cornel himself might have done at 20th Century Fox when they were both there. Of course had it been done at Fox, Darryl Zanuck would have had a better plotted story than RKO did.Wilde is a vaquero who has impregnated Yvonne DeCarlo and she's got a surprise for him when he returns from a roundup. She's got a bundle of joy for him and they're not married. But Wilde is going to do right by her. Sad to say though DeCarlo's family is involved in a range feud with a local Don who sends riders to burn out who he considers squatters. They kill DeCarlo and her grandfather John Qualen. They don't get DeCarlo's twin sister, also played by DeCarlo. She rides for Wilde and he gets there too late. But like Gregory Peck in The Bravados and Steve McQueen in Nevada Smith, Wilde's a man with a mission.For reasons I don't understand the local law who is played by Raymond Burr won't arrest Lon Chaney, Jr. after she identifies his voice as one of the riders. It's a pretty lame excuse for Burr not doing his duty. Of course Wilde's duty is clear. Later on Burr does in fact catch up with Wilde, but allows him to escape and then he tracks Wilde as Wilde tracks the bad guys. Again his reasons are rather lame.Wilde tracks the last of the bandits to the snow clad Sierra Mountains and the cinematography here is pretty good. RKO spent a bit more here than they normally do.There's a lot of similarity to Wilde's dashing Californio to Tyrone Power's The Mark of Zorro. Wilde is good, but he should have had a better story.

Michael Although this centres around the nondescript rendering of a standby genre plot - rancher seeks vengeance on those responsible for the massacre of his family - this at least turns out to have the succinct punch of economic efficiency that was the hallmark of many an RKO western. There's nothing much to speak of in terms of both script and acting - everyone is far too solemn, and disappointingly this does not exclude the quality thespian triumvirate of De Carlo, Burr and Chaney Jr.The real star is the colour photography (a panchromatic change of pace from a veteran cinematographer of many b/w 40s noirs) and the scenery within it; mise-en-scene courtesy of Fred-n-Ginger art deco specialist Van Nest Polglase. Both are sufficient to sustain one's interest through to the 'revenge is just as immoral as murder' conclusion.It's exactly the sort of film that transcends Dwan's more usual 'Cattle Queen Of Montana' type dross to attract the attention of those predisposed to critical revisionism of the B-western after a sufficient passage of time, which is why I'm all the more surprised at the lack of previous user comments.