Book of the film: Hondo

‘A man ought to do what he thinks is best.’ – Hondo Lane.

‘Hondo Lane was a big man… with the lean hard-boned face of the desert rider… His toughness was ingrained and deep, without cruelty, yet quick, hard and dangerous. Whatever wells of gentleness might lie within him were guarded and deep.’

Hondo and his trusty dog Sam are being stalked by two Apache warriors. He chooses the time and place for the showdown. This action-filled beginning is dropped from the film. Shortly afterwards, deprived of his horse, he wanders into a deep fertile basin and a lonely small ranch. This is where the film opens – and it works. Hondo meets up with Mrs Angie Lowe and her young son Johnny, both struggling to keep the ranch going in the absence of any man. Hondo befriends them and helps out. He warns them that Vittoro is on the warpath but Angie says they’ll be fine, they got along with the Apache. Hondo was half-Apache so understood; he borrowed one of Angie’s horses and left for the fort with despatches. It was a sad leavetaking because there was strong affection between them.

There is the complication of Angie’s husband and in the film this sticks closely to the book. L’Amour also wrote several pages about the Cavalry Company C, the lead up to their massacre; this was neatly discarded in the film script, Hondo simply pulling from his saddlebags the Company’s flag which he took off the Indian braves he killed (before the film began!)

Additional complications arise when Vittoro turns up wanting to adopt young Johnny as his son. He also declares that Angie must take a wife – an Apache brave. She has till the planting rains come to decide which warrior she would accept…

How the drama is played out between the pioneer woman, the gunman and the Apache warrior makes for tense reading. This is such a good yarn that it’s quite humbling to note that it was L’Amour’s first novel, published in 1953. He went on to produce over 120 books with sales in the 300 million range. The film, starring John Wayne and Geraldine Page (making her film debut), was made in the same year. Other actors included Wayne’s pal, Ward Bond and pre-Gunsmoke James Arness. Hondo’s dog Sam was played by Lassie!

Hondo has great characterisation, powerful visuals of the stark Arizona land and moments of understated tenderness. The book could have been written for Wayne as Hondo exemplified the star’s values – honesty, loyalty, bravery, self-reliance and independence. As the Duke’s son Michael said, ‘What you see on the screen is what John Wayne was off the screen. It is how he lived his life.’

L’Amour honed his craft by writing many short stories before embarking on a novel-length tale. Sadly, there is no longer such a good market of pulp magazines for new writers to supply, where they can develop and improve their writing.

On a few occasions, L’Amour jumps character point of view between Hondo and Angie, Hondo and Ed Lowe etc in the same scene, but it’s forgivable because the characters and story smoothly move you on. Even if the viewpoint is omniscient, I found those particular jumps jarred a little. I also felt that the fast-paced ending seems a little rushed but it’s satisfying nevertheless. It was interesting to see that the film’s final confrontation between the Apache and the settlers and cavalry was lengthier than in the reading; much of the violence wasn’t actually shown in any graphic detail, which probably had something to do with the film code of the time.

It’s quite understandable why this book marked the beginning of L’Amour’s successful career as a novelist. You know and feel that L’Amour, like his character Hondo, has integrity and honour and it shines through. As Angie’s thoughts emphasise: ‘… this also her father had given her: reserve of judgment, and to judge no man or woman by a grouping, but each on his own character, his own ground.’

Wayne was already a big box office star. This film did his career no harm at all and the Hondo Lane character can rightly join the Ringo Kid, Ethan Edwards and Rooster Cogburn in the Wayne hall of fame. Bearing in mind this film was released in 1953, its treatment of the Apache was honest and sympathetic – as was L’Amour’s.

L’Amour states in the Foreword: ‘I do not need to go to Thermopylae or the Plains of Marathon for heroism. I find it here on the frontier.’ As do we, his readers.

Book of the film: To Kill a Mockingbird

It has taken me a long time to get round to reading this book, first published in 1960. Maybe I was daunted by the fact it was a Pulitzer Prize winner and had sold in excess of 30 million copies. I’m glad I waited since I suspect I gleaned more from this as a mature reader than as an adolescent, though I could be wrong there as its appeal is very wide indeed.

Set in the 1930s Deep South, it deals with truth, the lot of Negroes, a small town’s prejudice and hypocrisy, and the bravery of an individual with principles – ‘The one thing that doesn’t abide by majority rule is a person’s conscience.’ – Atticus Finch.

Its author, Harper Lee, was 34 when she wrote this, her only book. Its huge success – the film of the book being released in 1962 – must have had some effect on the racial Civil Rights politics at the time. From 1865 to 1877 strides were made toward equal rights for African-Americans; Southern black men began to vote and were elected to the United States Congress and to local offices such as sheriff. Yet it was not until 1965 that an Act was passed to outlaw discriminatory voting practices that had been responsible for the widespread disenfranchisement of African Americans in the United States. Maybe Harper Lee’s popular book helped in some small way.

The book begins in classic mode, reflecting on events that are actually revealed at the end of the narrative. Eight-year-old Scout (Jean Louise) and her thirteen-year-old brother Jem (Jeremy) are the children of widower Atticus Finch, a lawyer of the town of Maycomb, Alabama. The narrator is Scout who is reminiscing about her childhood past, hence the adult language used in her descriptions. It’s never explained why she is nicknamed ‘Scout’. Anyway, she immediately endears herself to you with her self-deprecating good humour and generally amusing observations: ‘With a click of her tongue she thrust out her bridgework, a gesture of cordiality that cemented our friendship.’

The siblings refer to their father by his first name, much to the consternation of their disapproving and distant relatives; it makes for easier reading, anyway.

The household helper and cook is Calpurnia, a Negro with infinite patience and a heart of gold, more a member of the family than hired help. She, along with so many characters in the town, is drawn with sure strokes so we get to know them, which is the true measure of a good author.

Most towns probably have a house that invokes gossip and tall tales about things going bump in the night. Maycomb is no different. The Radleys’ place is where, at risk of some unspeakable death, children dare to sneak into the yard and touch the walls. Boo Radley hasn’t been seen in years and this causes more stories. Gregory Peck, who starred as Atticus and won an Oscar for the part, said: ‘The characters of the novel are like people I knew as a boy. I think perhaps the great appeal of the novel is that it reminds readers everywhere of a person or a town they have known. It is to me a universal story – moving, passionate and told with great humor and tenderness.’

When Tom, a Negro, is accused of raping a white woman, Atticus is selected as his defence lawyer. It’s obvious that Tom is innocent, but prejudice runs deep, it seems. During the court case, Atticus makes a moving strong plea about all men being equal, not in accomplishment or talent, which is nonsense, but in the eyes of the law – a laudable ideal that, even today, is tarnished by those with money.

Lee never completed another book and shunned interviews. Several sources state that her book was in large doses autobiographical; whether it is or not, the characters shine through as real people, a great accomplishment.

My copy was a reprint dated 1997; and it had been reprinted no less than 42 times in this paperback imprint. That annoys me just a little: there are easily thirty typing errors in the text – even one on the first page – yet no publisher considered correcting them in all those years. A shameful way to treat a classic.

From an editorial perspective, I found the first person narrative spot on. One very minor quibble which her editor Tay Hohoff seems to have missed: ‘One day… we did not see Atticus standing on the sidewalk looking at us, slapping a rolled magazine against his knee.’ (p44) If he wasn’t seen, he couldn’t be written about. Still, the image is a striking one and maybe that’s why it was left in.

From the outset, this was going to be a difficult novel to film. Inevitably, voice-over was employed (by Kim Stanley), ostensibly the mature voice of Scout. Horton Foote won an Oscar for his Adapted Screenplay, deservingly so, considering the difficulties of transferring Scout’s memories to a visual medium. It’s an accomplished piece of work, judicially leaving out certain scenes, events and characters from the novel while combining the odd character here and there, all the time preserving the truth and integrity of the original.

Any re-reading of the novel will mean that the mind’s eye sees Gregory Peck as Atticus, the part he was born to play.