Years ago, we (yours truly) worked for a weekly newspaper.
According to the Organizational Chart, we had three bosses: The Managing Editor, the Circulation Manager and the Supervisor. They were men with Experience.
But none of them were regarded as our leader.
Our actual leader was a woman who did advertising layout, someone who had worked for the newspaper for many years. She was smart and funny and unafraid to tell the bosses Where To Go if they made a decision she didn’t like. (In which case, the bosses usually retreated.)
She was someone with innate leadership qualities, one of those people who instinctively lead others without a fancy title or corner office.
Problems arise when a non-leader in a position of authority becomes threatened by the presence of a natural leader. It takes a special kind of person to diffuse the tension and forge a productive partnership, and, maybe, friendship.
The film opens as Wyatt Earp (Fonda) and his three brothers camp for the night in Arizona, while en route to California with their cattle. Wyatt and two of the brothers go into nearby Tombstone for a Night Out, but when they return to their campsite, they discover the one brother has been murdered and their cattle stolen.
Wyatt is determined to find Those Responsible. He accepts an offer to become the marshall of Tombstone, and deputizes his remaining brothers.
Now, in Tombstone, there are two men who run things Around Here. One is Old Man Clanton (Walter Brennan), who has four unruly sons. As a rancher, Clanton doesn’t interfere much in town business, but the movie hints at his knowing exactly who is travelling through the area at any time.
The more powerful man is Doc Holliday (Victor Mature), a coarse but expensively-dressed individual with no visible means of income. Holliday is away on one of his business(?) trips when Wyatt is installed as the new marshall, yet the Doc already knows the Score when he returns.
Wyatt is at a poker game when Holliday breezes into the saloon, and the atmosphere shifts slightly, like it does when any VIP arrives. Holliday knocks the hat off one of the men and says, “I told you to get out of town.” The man leaves, and Holliday gives permission for the poker game to continue.
This is Holliday asserting dominance in his puerile way.
You can’t win a power struggle with a guy like this; he’s too entrenched. The better move is to get him on your side.
Let’s examine how Wyatt makes an unlikely ally of Holliday.
Wyatt calmly approaches the Doc at the bar, and Holliday orders champagne for them both, flaunting his wealth. Then he offers Wyatt a challenge: He asks Wyatt what he’d do if he (Holliday) were to break the law.
Wyatt gets to work. He explains to Holliday he’s already broken the law by chasing a man out of town. But he’s not rebuking Holliday; he’s merely stating a fact.
Holliday, a bit rattled, draws his gun while someone slides another gun along the bar to Wyatt. The new marshall doesn’t bite; he isn’t carrying a gun and he returns the weapon. Wyatt doesn’t feel he has to Prove anything. Besides it’s not his job to bolster someone’s ego.
The Doc is smart enough to recognize Wyatt isn’t looking to topple him, and a mutual respect develops between the two men.
Some say “acting is thinking”, and Henry Fonda provides an excellent example in My Darling Clementine. Fonda’s character rarely breaks a sweat, but he compelling to watch because he constantly surveys and evaluates.
Do the events in the film resemble the historic event? Experts say liberties were taken with the story but, according to IMDb, director John Ford claimed he met the real Wyatt Earp. Ford says he staged the gunfight in the film based on Wyatt’s description*.
Despite any historic discrepancies, My Darling Clementine is an enjoyable film with a superb actor providing a valuable lesson in leadership.
* Many historians say the actual gunfight was only 30 seconds.
This post is part of the THE FONDATHON hosted by Sat in Your Lap.
My Darling Clementine: starring Henry Fonda, Linda Darnell, Victor Mature. Directed by John Ford. Written by Samuel G. Engel & Winston Miller. Twentieth Century Fox, 1946, B&W, 97 mins.