The posse briefly pauses on a small bridge; Walsh liked to accent scenes with bridges, giving them more visual interest.

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There are wagon wheels in the barn, where Hardin first practices shooting.
The hero's cards are thrown away into a round barrel, in the same barn.
The first gambling saloon has circular tables.
Conical ceiling lights are in the same scene.
A door curtain contains hundreds of small red spherical beads on strings.
Covered wagons with round tops, and some barrels, are seen in the cattle drive.
A Roulette wheel is circular.
Cylindrical stacks of gold coins appear in the gambling scenes.
Round cymbals and drums are at the saloon. Some are seen through the telescope.
A circular clock dial is the center of the suspense sequence about Hickok and the dress. The dial is contained in an octagonal frame: one of several octagons that run through Walsh. The clock also has a circular pendulum.
The heroine's wagon has big wagon wheels; so does the hearse.
The posse also hid behind wagon wheels under wagons, during the shoot-out at the farm.
The Texas Rangers head office has spiral bars on the windows.
Curtain ropes hanging in the hero's farm house, make caternary arcs.

The prison gates at the opening, have the arched doorways, that run through Walsh. So does the Austin Courthouse building exterior near the end. Inside the courtroom, a doorway has a semi-circular fanlight above it.

A telescope at the saloon, is used to create a circular mask around the shots of the dancing women.

A newspaper in the historical montage has a star-shaped logo. Many of the lawmen's badges are also star-shaped, something common in Westerns.

Red and Green

Much of The Lawless Breed is built around the colors of red and green.

Rosie is first seen in the sort of red dresses worn by saloon girls in many Walsh films. A later singer is a saloon is also in a black-and-red dress.

However, later Rosie switches over to green outfits.

And many of the interiors seem designed in "green with touches of red":

Rosie's saloon at the opening. It has pink-and-green beads on its curtains. The barman is in green, with reddish designs on his vest.
The uncle's farm house (nearly all green, as are the men's costumes in this scene). This includes a green pitcher, green-blue walls, and a green plant.
The saloon scene is in many colors, but the roulette table is in red-and-green, dominating a sequence there.
The hero's farmhouse parlor at the end.

The cattle drive features red cattle, red horses contrasted with green vegetation. Part of it is framed against pinkish rocks (sandstone?)

When the heroine rescues the wounded hero after the posse attack, the exterior is also in "green with touches of red". Her green dress and vegetation dominate the scene; the wagon wheels have a pinkish tinge, and the hero's wounds make touches of red.

Heroines and Flowers

Many Walsh heroines are linked to flowers, especially roses. The heroine is named Rosie. She is first seen with red, flower-like decorations in her hair: another Walsh heroine wearing floral decorations on her clothing.

Towards the end, when the hero comes home from prison, the heroine is seen cutting a flower from a bush. It looks like a yellow rose.

Maps

There is a wall map in the courtroom, but it plays little role in the plot.

There is a huge vista of a Western town, shortly before the hero is captured and sentenced. This town has a church steeple in the background, like the view of the townscape behind the old man's house in Colorado Territory.

Pets

An early shot shows the hero trying to pet first a colt, then a dog.

Weather

Two scenes involve weather:

The big shoot-out is staged in a wind storm.
And the heroine drives the wounded hero in her cart through rain.

Episodes in unusual weather played a role in The Big Trail. The wind scenes also recall the finale of Man in the Saddle (André de Toth, 1951), although they are less intense.

Flashback

The finale, where the hero meets his son in the barn, includes a brief flashback showing a montage of scenes from the film. Several Walsh films have short flashbacks, showing a scene or image from the hero's life. This one is unusual in showing multiple episodes from the movie.

A Lion Is in the Streets

A Lion Is in the Streets (1953) is a political drama, very loosely based on the rise and fall of real-life Louisiana politician Huey Long.

Walsh Subjects: The Crusade at the Cotton Gin and in Court

The two key scenes of the hero's crusade are grounded in traditional Walsh subjects:

The weighing of cotton at the gin involves workers negotiating a deal with overlords, in this case how much farmers get paid for their cotton.
The courtroom is one of many Walsh looks at failed legal systems and courts. It is one of the most bizarre such scenes in Walsh.
Poor and working class characters are struggling for their rights in both scenes.
Communication is central to both scenes: the hero is struggling to get word of the crookedness at the gins out to the public, over legal ways to suppress information through libel laws.
John McIntire makes a final sacrifice of his last hours, to get the truth out in the court. This recalls the hero's "dying declaration" in They Died with Their Boots On, also an end-of-life sacrifice to get truth past legal obstacles to suppress it.

These scenes are the most interesting ones in the movie. They show a man struggling to bring about social changes, also a Walsh subject.

Radio and Communication

A Lion Is in the Streets shows Walsh' interest in high-tech sound communication in general, and radio in particular. There are two radio broadcasts. One is at a radio studio. The other is from location, and shows a radio truck.

The second broadcast shows one of the classy radio broadcasters in Walsh, recalling similar figures in College Swing and High Sierra. This one is a well-dressed young man, who politely reminds everyone of the "fair" way his station has covered the hero's political campaign. These figures embody Walsh's idealized view of radio.

Politics

A Lion Is in the Streets is often unsatisfactory in its plotting. It takes an ambiguous look at its hero, sometimes presenting him favorably, other times condemning him.

SPOILERS. Crucially, the hero is partly right, and partly mistaken, in his accusation that the cotton gin owner is swindling poor people with false weights. It turns out that the swindling is going on, but conducted by the company's manager, not its owner. In my judgement, this is not a very significant difference. The hero is correct in his key contention: poor people are being swindled on a massive scale by a rich and powerful company.

However, the film seems to imply that the hero's modest mistake makes him some sort of evil, corrupt demagogue, going around making false statements. I don't agree with this point of view at all.

Two more implications of this situation. Early on, we hear about allegedly honest state inspectors, who have found no trouble with the company's weights. These inspectors must be stupid or crooks, in my opinion. And the Governor, who all the film's spokesperson characters keep describing as an honest man victimized by the demagogic Cagney, employs these inspectors. The Governor must also be crooked or criminally stupid, in my judgment. Consequently, the basic premises of the film's politics make no sense to me: I don't agree with how the film represents Cagney, the corporation, or the Governor.

A different problem with the film's politics: early on, the spokesperson wife says it's a delusion that poverty is caused by rich people stealing from the poor, and that the true causes are elsewhere. But much later on, we learn that the company is in fact stealing from the poor. This means the hero was right about the cause of poverty. But this issue is never revisited in the film.

On the whole, I am a lot more sympathetic to the hero and his beliefs, than many of the "good" spokesperson characters or the film seem to be. Until Cagney takes the crime boss' crooked offer late in the film, he does little that is wrong politically.

To be fair, maybe I am mistaken. Maybe the film wants us to recognize the hero's crusade as fundamentally sound, and sympathize with him, in terms similar to my own attitudes. The hero is such an ambiguous person, with both faults and virtues, that he and the film's attitude are hard to define.

Water Imagery

A Lion Is in the Streets is full of water imagery. This is appropriate, because it takes place in an unnamed state that is a thinly disguised version of Louisiana, a very wet place. The water motifs mainly fall into categories that are common types of images in Walsh films. These standard Walsh categories are given water-linked instances in A Lion Is in the Streets:

One of the few types of geographical information is the fact that the state gets 55 inches of rainfall per year.
Boats are represented by swamp boats used to pole through bayous.
Characters who get in the water are the two heroines, who wind up in the swamp.
Animals who attack humans are alligators in the swamp.
Pets are represented by fish in the crime boss' aquariums.
Storms are two huge rain storms. One is in the opening. The second one takes place on Election Day, and plays a role in the plot, making it difficult for rural voters to get out and vote.

Heights

Compared to most Walsh films, A Lion Is in the Streets has few scenes involving heights. The jail window with McIntire is on a second floor. This is an unusual location for a jail cell. The only other second story jail one can recall is in Fury (Fritz Lang, 1936), which is also a social commentary drama, like A Lion Is in the Streets.

When we first meet Warner Anderson, he is on a balcony, with Cagney talking to him from down below. We don't actually see the balcony from a long shot, or get any glimpse of it showing height.

Costumes and Color

The wife (Barbara Hale) is another Walsh heroine in red-and-white clothes.

Hale and the school children are in shiny slickers in the opening rain storm, some of them black.

Brown is often seen as a negative color for men's clothes, in US fashion in general. This is also often true for Walsh. Two bad guys in A Lion Is in the Streets wear brown suits: the crooked manager of the gins (James Millican), and the prosecutor at the trial. Both suits are expensive looking and double-breasted, conveying that these villains are representatives of wealth and power.

Gun Fury

Gun Fury (1953) is a little Western film that was originally shown in 3-D. I have only seen the flat, non 3-D version of the film. Occasionally, Walsh has characters throw objects directly at the camera, and the viewer, in a manner that one associates with the later 3-D spaghetti Western Comin' at Ya! (Ferdinando Baldi, 1981), a film that has excellent 3-D technology, but which otherwise is awfully cornball. The TV ad campaign for Comin' at Ya! was a comic gem, showing people exiting into the theater lobby full of flaming arrows stuck into them, echoing the scene where the film seems to shoot these at the audience. Another ad showed an avalanche of rocks pouring out of the theater into the lobby. One hopes these TV ads survive somewhere.

The title Gun Fury seems to have little connection with the actual events of the film. This Western is neither more nor less gun battle oriented than other 1950's Westerns. One suspects that someone just came up with what they hoped was a commercial title for the Western, and slapped it on the movie.

Visual Style: Figures in a Landscape

Gun Fury