Westward the Women (1951)
John
McIntire is Roy E. Whitman, the mayor of a prosperous mining community in
California, who notices there's something missing in his small paradise: women.
He therefore travels to Chicago to find marriageable women for his lonely men
and hires a trail boss, Buck Wyatt (Robert Taylor), to lead the wagon trail along
the California Trail to the promised land in the West.
Based on a story by
Frank Capra, of all people, this is one of the most brisk and cheerful movies
in the wagon train genre, and at the same time one of the most wistful:
virtually all characters in it are lost and lonely, longing for a new start in
life. There's the single mom, the aging widow of a New England sea captain, the
recently widowed Italian immigrant woman, hoping to find a new father for her
young son, and the two saloon girls, who quickly change their clothes when they
notice that Whitman only accepts 'virtuous' women. Their journey is not only a rite de passage in which the women prove themselves to be worthy of their future husbands, but also a
quest for the true adventurous spirit that once brought people to this
continent, and now leads them further West because the pioneer spirit is lost in the town of
Chicago.
I had seen
the movie some thirty years ago, and was afraid it would look hopelessly
old-fashioned, and of course there are a few silly jokes with a funny talking
Japanese aid and also a couple of melodramatic moments, but the script elegantly
meanders through the genre clichés, avoiding the worst and most obvious
pitfalls. The movie is as enjoyable today as it was back then, funny, exciting
and sexy. It glorifies the courage and perseverance of the woman, but never fails
to underline the drama and downside of the venture: to restore his authority
Taylor is forced to shoot one of the men in cold blood (after he has raped one of the saloon girls),
and several women never reach the promised land because they're killed during the various physical tests they have to endure. Some of the
most dramatic moments - an Indian attack, the accidental death of the young
Italian boy - are off-stage, but they only seem to be more hard-hitting because
of it.
Capra got
the idea for the story after he had read a magazine article about South
American women making a long and dangerous journey to join a colony of male
settlers. Like Buck Wayde in the movie, director Wellman told the female cast
the job would be dirty and tiresome; he also gave every one of them a chance to
back out in the last minute. They received a three weeks training before
shooting started (*1). The cast is excellent, with Robert Taylor turning in one
of the very best performances of his career and Denise Darcel deliciously cunning
and seductive as the French mademoiselle
taming him.
Cinematographer
William C. Mellor was asked to abstain from filters whenever possible, in order
to give the movie a glaring look. Some of the compositions are reminiscent of paintings
in the style of heroic-realism, popular in Europe in the first half of the
Twentieth Century. The woman are often filmed from below, silhouetted against
the sky, as if the underline their greatness and bravery; it's a technique that
was also applied by the controversial - but very influential - German film maker Leni
Riefenstahl (*2). Some of the scenes with
the women washing themselves in the river, their skirts strung up, seem inspired
by the famous neo-realist movie Riso Amaro (Bitter Rice - 1949, Giuseppe De Santis), which was a great success
in both Europe and the US.
Notes:
* (1) Jeremy
Arnold, Westward the Women http://www.tcm.com/tcmdb/title/95389/Westward-the-Women/articles.html
* (2)
Riefenstahl is best known for her propaganda movies (Triumph of the Will,
Olympia) for the Nazi Party, and for this reason her work was rejected by many
commentators, but the aesthetics of her movies are generally considered as
outstanding and her photographic techniques as groundbreaking; she experimented
with different camera speeds and shooting angles, often with dazzling effects,
and is often called the greatest female film maker of the Twentieth Century. Her
work was studied by such prominent film makers such as Orson Welles, Stanley Kubrick,
Woody Allen, Paul Verhoeven, Steven Soderbergh and Quentin Tarantino.
1951 - Director: William A. Wellman - Cast: Robert Taylor (Buck Wyatt), Denise Darcel (Fifi), John McIntire (Roy E. Whitman), Renata Vanni (Mrs. Maroni), Beverly Dennis (Rose), Hope Emerson (Patience), Julie Bishop (Laurie), Lenore Lonergan (Maggie), Marilyn Erskine (Jean), Henry Nakamura (Ito), Guido Martufi (Tony Maroni).
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