In conversation as in filmmaking, Allan Dwan (1886–1981) is a master storyteller. He savors details, builds suspense, sketches characters broadly yet deftly, and never allows the pace to flag. A genuine affection for people–tempered by a mischievous sense of humor–illuminates every yarn. In a career spanning five decades starting in 1911, Dwan's attitude toward morally ambiguous characters remained sympathetic. Gamblers, loose women, outlaws and outcasts are presented with understanding. We're encouraged to enjoy the extravagant nastiness of the villains and to view simple folk without condescension. Although Dwan retained the pictorialism and the melodramatic plot devices of the silent screen, his generous stance defies time. He continued to grow during the sound era, enjoying a large measure of creative freedom making color westerns, adventures, and melodramas for producer Benedict Bogeaus. Even the slightest of the series (Pearl of the South Pacific and Escape to Burma [both 1955]) are graced by ravishing images and smoothly flowing narratives. Cattle Queen of Montana (1954) has almost nonstop action against magnificent locations. Even better is Passion (1954), a moving story of romance and revenge. Silver Lode (1954), Tennessee's Partner (1955) and Slightly Scarlet (1956) are masterpieces; human stories handled with total formal control.