Dodge City (1939)

A Rootin-Tootin Good Time!

***This Review Contains Spoilers***

A Texas cattle agent witnesses the brutal lawlessness of Dodge City, Kansas and agrees to take up the job of sheriff to clean the town up. If that doesn’t sound like the most stereotypical summary of a western then I don’t know what does. 1939 was the year in which the western went from a B-movie genre to getting the big studio treatment almost overnight and as a result, the inclusion of just about every western trope in Dodge City almost feels slightly comical. We get a train, a stagecoach, cattle drives, a saloon brawl, dancehall girls, an evil gang terrorising the locals, the “new sheriff” in town, a schoolmarm, lynch mobs, a crusading newspaperman, poker games, herds of bison, a climactic shootout, rock and roller, cola wars, I can’t take it anymore! Perhaps the only elements which are missing are a fight with Indians and big ol’ saguaro cactus (geographically inaccurate I know)

Errol Flynn transitions well to the role of a cowboy as Irishman Wade Hatton (“Thirty years ago, my father met my mother at the Londonderry fair” – excuse me, no true Irishman calls it Londonderry). Dodge City was the 5th of eight pairings of Flynn and Olivia deHavilland in which she plays feisty frontierswoman Abbie Irving. The magic is still there with any scene in which they are alone – you can tell these two really are in love, and like in The Adventures of Robin Hood, deHavilland is given many a memorable, brightly colored costume change throughout the film. Abbie’s brother Lee (William Lundigan) on the other hand is one of the biggest twats in screen history. A spoiled, trouble-making, tantrum-throwing drunkard who carelessly fires his gun into the air which causes a cattle stampede that leads to his untimely death. However, I don’t quite get why Abbie resents Wade for his involvement in Lee’s death as he ultimately got what was coming to him. None the less, Henry Travers perfectly sums up the situation – “Women’s logic and emotions are often very confusing”.

Dodge City is a story of morality and civilization – another chapter in how the west was won. The bad guys of Dodge City lead by Jeff Surrett (Bruce Cabot) are essentially gangsters, murdering for business interests, running gambling clubs and threatening the press. However, once Wade becomes the sheriff and begins cleaning up the town of its crime and degeneracy, my libertarian alarm bells start going off as he restricts gambling, gun rights (is he violating the 2nd Amendment by decreeing “No firearms permitted north of Front Street”?) and introduces taxes (at least his barber recognizes they are a necessary evil). 

Dodge City may have the best bar fight ever committed to screen. One spurred on by post-civil war tensions as the Confederate half of the saloon sings (I Wish I Was in) Dixie’s Land and the Yankee half retaliates with Marching Through Georgia before dozens of men cause utter fist-fighting destruction, destroying ever corner of the saloon and even falling through walls and multiple floors as they pummel each other. The beginning of the scene in similar to that from Casablanca (which Curtiz would also direct) in which the Germans at Rick’s Place start singing Die Wacht am Rheinin in front of the French of whom retaliate by singing the La Marseillaise.

The film’s score by Max Steiner sounds awfully similar in parts to that which Steiner would compose for Gone With The Wind, released 8 months after Dodge City. Even some of the shots present in the film are reminiscent of the scenes in Atlanta from GWTW. From the beautiful artwork in the title screens to the grand 3-strip Technicolor encompassing many scenic horizons, Dodge City is a visual delight (it’s just a shame the DVD copy of the film suffers from some colour bleeding). The film’s climactic shootout on the train, however, lets the film done slightly as the cuts back forth between the location and a studio set fail to convincing match each other.

Errol Flynn and Alan Hale once again make a great duo and Hale even receives his own comedic spotlight moment when he wanders into a temperance union known as the Pure Prairie League, only to find he’s the only man among a group of older women. Likewise in an interesting twist to convention, it’s Alan Hale and not Errol Flynn who takes out the film’s main villain played by Bruce Cabot. I’m just disappointed Ann Sheridan’s part in the film is barely beyond a cameo despite being third billed. She performs several songs as a saloon singer but has no impact on the plot – did she have any deleted scenes? I could also do without that cutesy little kid (Bobs Watson), although to be fair at least he has a major role in the progression of the plot. Regardless of any minor shortcomings, any film is worth it when it has earned its right to culminate in the most endearing of cinematic images, the hero riding off into the sunset.

Noah’s Ark (1928)

Need An Ark? I Noah Guy!

***This Review Contains Spoilers***

Noah’s Ark was Warner Bros’ attempt to create a Cecil B. DeMille picture and one with very odd results, to say the least. It was a common convention for silent epics to tell two or more concurrent stories, one set in modern times and the others set in the ancient world with these being tied together with the same thematic elements (even Buster Keaton parodied this format in his feature Three Ages). Noah’s Ark from 1928 is not a very good film but it can at least go down in the history books as a bizarrely interesting one.

Noah’s Ark begins with some striking images of the Tower of Babel of which the movie compares to modern day skyscrapers. This is followed by an appearance of the Golden Calf with the title card (*in a booming Charlton Heston voice) “And throughout the ages, the worship of the Golden Calf remains man’s religion”. Cut to images of frantic modern day stock brokers followed shortly by a ridiculous montage of gambling and partying to the dissolve of a statute of Jesus which sheds a tear. Oh boohoo! This moralising couldn’t get more over the top if they tried.

Noah’s Ark is a movie trying way too hard to be profound. It’s already used the Old Testament to try and decry capitalism; the remainder of the film tries to state an anti-war message through the story of the Ark. I’m not a theologian but the connection the film tries to make between Noah’s Ark and World War I isn’t even strenuous at best. The movie’s justification for this is that the war and the story of the Ark both resulted in vast destruction and death. Paul McAllister plays a minister who serves as the biblical counterpart for Noah and proclaims before the movie transitions to the biblical tale itself (*in a booming Charlton Heston voice):

 “The Flood – it was a deluge of water drowning a world of lust!”

“This war – it is a deluge of blood drowning a world of hate!”

“The flood and the war, God Almighty’s parallel of the ages”

Yeah, you tell yourself that Buddy.

I do quite like the basic, melodramatic war story which is charming and mildly engaging. George O’Brien and Guinn “Big Boy” Williams are two American friends by the names of Travis and Al. The two are residing in Europe and may have a sexual thing going on between them as through much of their interactions they remain physically close, are very touchy and even have a romantic look in their eyes. On top of that during the actual Noah’s Ark portion of the film their biblical counterparts Japheth and Ham are even more homoerotic with their exposed chests. Travis, however, is going to marry his German love interest Marie (Dolores Costello), however, war breaks out and not only is married to a woman from an enemy nation but he’s also initially avoiding conscription. – This is one of those films in which the plot if maximised for upmost melodramatic effect.

65 minutes into what is the longest existing version of Noah’s Ark and we finally get what we came for. The portion of the film about the creation of the ark and the proceeding flooding is the best part of the film. Right of the bat, it’s very dreamlike – I just notice that Dolores Costello’s hairstyle is a few millennia off. It also has the most bizarre representation of God trying to communicate with mere mortals, by carving a giant book into the side of a mountain via lightning. If the film was only comprised of this it would be a really good short film. The movie’s much-touted flooding sequence if a spectacular sight with its huge sets, extras galore and water; lots and lots of water. However what’s made Noah’s Ark most infamous in the history books are the sources which say that several extras drowned during the making of the flood and reportedly 35 ambulances were called out to treat the wounded. You only have to watch the sequence itself to see the extras on screen do appear to be in real danger.

Noah’s Ark was a part-talkie and as a result, you have some very stilted acting during the talking scenes but you can’t blame them. The direction of the film is fine but that distinctive Michael Curtiz style is not as apparent as his later talkies. The obvious model train seen early in the film is cute but in comparison to the flood sequence, if realism was their goal then they failed. Also, can a lightning strike destroy a bridge made out of stone?

Myrna Loy is billed at the bottom of the main players screen at the beginning but only appears in one scene, in which she gets to speak and her first time to do so on screen. Sources do state, however, she also appears in the flooding sequence as a golden-winged dancer before the sacrificial altar but this viewer failed to spot her among the carnage. It does seem odd that for a rather high billing that she appears only very briefly in the film. I can only speculate that perhaps she appeared in more scenes in which were removed for re-releases of Noah’s Ark and have since become lost.

Once the story of Noah comes to a close we are brought back to the present and lo and behold, the war has ended and the armistice is signed. The Minister then makes a proclamation to echo Woodrow Wilson’s  famous statement “The war to end all wars” (* once more in a booming Charlton Heston voice):

“I mean that war is now an outlaw, and will be hunted from the face of the earth. Those ten million men have not died in vain.”

Yeah, you tell yourself that Buddy.