Tagline for The Sins of Rachel Cade
Although his work with John Ford brought Woody Strode less stereotypical roles than those available to most African-American actors in early '60s Hollywood, it was pretty much back to business as usual when he was among an amazing ensemble of black performers cast as natives in need of salvation courtesy of missionary nurse Angie Dickinson in the 1961 romance, The Sins of Rachel Cade. At least the film allowed the native characters a point of view and sympathetic reasons for resisting the title character's preaching. But the focus was less on cultural clashes in the last days of Africa's colonial occupation than on the leading lady's romantic entanglements with a cynical doctor (Peter Finch) and a downed American flyer (Roger Moore) who leaves her pregnant.
Originally RKO had bought the rights to Charles Mercer's novel Rachel Cade in 1956, while the book was still in galley form. But though it became a best seller, the studio's plans to shoot the story on location in Africa were squelched by fading finances. With RKO ceasing production in 1958, they sold the property to Warner Bros., which moved it into production after the success of the very similar The Nun's Story (1959). Warner's even assigned the same producer, studio veteran Henry Blanke, and cast Finch in a similar role as the agnostic who challenges the leading lady's religious principles, including her views on chastity.
Although Warner Bros. re-created the Congo on the studio back lot, they at least assembled a prestigious team of talented veterans. Director Gordon Douglas had distinguished himself with such genre classics as Them! (1954) and The Fiend Who Walked the West (1958). Writer Edward Anhalt had won an Oscar® for Panic in the Streets (1950) and would go on to win another for Becket (1964). Max Steiner was the studio's mainstay composer, and had just landed a spot on the hit parade with his theme for A Summer Place (1959). And cinematographer J. Peverell Marley had not only transformed Ingrid Bergman, Susan Hayward and Elizabeth Taylor into movie sirens, but had married one of the screen's great beauties, Linda Darnell.
That combination of romantic composer and glamorous cinematographer points to the film's primary focus -- the love story. The Sins of Rachel Cade would provide a perfect showcase for the group of young actresses being groomed for stardom at Warner Bros. Among them were Connie Stevens and Diane McBain (Suzanne Pleshette would sign on the following year), but it was Dickinson, who had scored a hit as the dance-hall girl in Rio Bravo (1959), who won the role. Joining her and Finch for the romantic triangle was British actor Roger Moore, years before he became The Saint on television or James Bond in the movies. He had been working at MGM, then switched to Warner's, neither of which ever found the right niche for his good looks and devil-may-care attitude.
In retrospect, however, the real heat in the film's casts is generated by the impressive assemblage of African-American actors cast as the Congolese natives. Joining Strode were Errol John, later a member of the Old Vic in England, Juano Hernandez -- who became a legend as the proud, angry accused killer in Intruder in the Dust (1949), a performance many see as paving the way for Sidney Poitier's stardom -- Frederick O'Neal, a pioneering civil rights activist and one of the creators of the black theatre movement, musician turned actor Scatman Crothers and Rafer Johnson, who, like Strode, had been an Olympic decathlete.
In 1961, however, most of the focus went to the romantic story and the stars of The Sins of Rachel Cade. The film was not well received by reviewers, though most looked favorably on Dickinson's performance. She would finish her Warner's contract with an "other woman" role in Rome Adventure (1962). Although she worked steadily after that, it would not be until she starred in the classic '70s series Police Woman that she would reach the height of her popularity, nor would she demonstrate her full potential as an actress until Brian De Palma cast her as the bitter, aging wife and mother in Dressed to Kill (1980).
Producer: Henry Blanke
Director: Gordon Douglas
Screenplay: Edward Anhalt
Based on the novel Rachel Cade by Charles E. Mercer
Cinematography: J. Peverell Marley
Art Director: Leo K. Kuter
Music: Max Steiner
Principal Cast: Angie Dickinson (Rachel Cade), Peter Finch (Col. Henri Derode), Roger Moore (Paul Wilton), Errol John (Kulu), Woody Strode (Muwango), Juano Hernandez (Kalanumu), Frederick O'Neal (Buderga), Mary Wickes (Marie Grieux), Scatman Crothers (Musinga), Rafer Johnson (Kosongo).
C-124m.
by Frank Miller
