Mar de hierba

"The Sea of Grass" showed up on cable recently and out of curiosity, we watched it, based on the great director at the helm, and the cast involved in it. Unfortunately, Elia Kazan wasn't up to the task of directing the Conrad Richter novel about the post pioneering days. In fact, this film sort of falls flat as neither Mr. Kazan, or its stars, show any semblance they were much interested in the project.

One would imagine that to bring together Spencer Tracy and Katherine Hepburn to play the leading roles would inspire the rest of the cast, but alas, it wasn't meant to be. The film is, by no means, a total failure, on the contrary, but there are no sparks in it to keep the viewer interested.

As someone remarked in this forum, we don't get anything from the Colonel and Lutie in the way of love, from the start. For the romance they were living on the sly, the stars don't light up for the camera to give us a hint they are in love in real life. The only one that shows any spunk is Melvin Douglas, who as Brock, can't hide his love for Lutie. The supporting cast is good, with some excellent minor performances by Phyllis Thaxter, Edgar Buchanan, Ruth Nelson, James Bell, and the rest.

Watch "The Sea of Grass" if there's nothing better playing at the same time.

In this rather talky piece set on America's frontier , a St. Louis woman (Katharine Hepburn) marries a New Mexico cattle baron , Col. James B. 'Jim' Brewton (Spencer Tracy) who is seen as a tyrant by the townsfolks . This western starts with St. Louis resident Lutie Cameron (Katharine Hepburn) marrying New Mexico cattleman after a brief courtship . When she arrives in "Salt Fork" she meets her recent husband and she learns that results to be an ambitious magnate owner who exects force to keep homesteaders off the government owned land he uses for grazing his cattle , the so-called Sea of Grass . Then Lutie, rebelling against the tyranny of his hubby . As she finds herself torn between her children (once grown-ups : Robert Walker , Phyllis Thaxter) and husband. Spencer Tracy Cattle baron . . ruthless, rugged! Katharine Hepburn. Fiery . . . Fascinating gal from St. Louis! Robert Walker. Gun-shooting and gambling fool! Melvyn Douglas. He knew women! Soft words, Soft looks! .It takes only one indiscretion to fill a woman's life with adventure, danger and heartache! . Big As Its Stars!

This "MGM" stirring drama Western with plenty of lyric images deals with victory of civilization and defeat of feudal spirit represented by a proud land baron who is deemed by the locals to be a tyrant .However , being more a soap opera drama than a typycal Hollywood Western . It contains some impressive and spectacular scenes on the raid with lots of riders towards homesteaders wagon train and cavalry arrival , though using some rear-screen projections and vast stock of process footage , especially when Spencer Tracy is riding on horseback .The picture is full of largest-of-life characters with awesome interpretations from the nice cast . Pandro S Berman's lusty effort that bears a certain resemblence to epic Western : King Vidor's Duel in the Sun (1946) a classic film of the 40s and over-budgeted movie in almost 5 million . The Sea of Grass (1947) starred by the great Katharine Hepburn-Spencer Tracy team has the performance acting honours whisked from under its nose in this enjoyable drama and the guilty is the early deceased actor Robert Walker . Sensational main cast as Spencer Tracy playing the stubborn cattleman at his best , and Katharine Hepburn as the obstinate wife who has difficulty reconciling her husband's beliefs and passions with her own . All of whom backed by magnificent secondary cast , such as : Melvyn Douglas as the suitor who falls for Lutie/Hepburn , Robert Walker as rebellious and violent son , Phyllis Thaxter as the good daughter , Harry Carey is effective as a friendly doctor , Robert Amstrong of King Kong , Morris Ankrum as a honest solicitor , Edgar Buchanan , James Bell , Ruth Nelson , Robert Barrat , Russell Hicks , Trevor Bardette , among others .

It displays a moving and emotive musical score by composer Herbert Stothart . As well as atmospheric and adequate cinematography in black and white by Harry Stradling Sr , shot on location in the Great Plains. Elia Kazan directs with his customary force , though overtalking and packing some flaws and shortcomings , getting big success at box office . In fact , this was the most profitable of all the Spencer Tracy-Katharine Hepburn films . The stunning director Elia Kazan made notorious and successful films . As ¨Pinky¨ (1949) , was one of the first films in mainstream Hollywood to address racial prejudice against black people. ¨A streetcar named Desire¨ (1951), an adaptation of the stage play which he had also directed , received 12 Oscar nominations, winning four, and was Marlon Brando's breakthrough role. In 1954, he directed his biggest hit : ¨On the waterfront¨ (1954), a film about union corruption on the New York harbor waterfront. In 1955, he directed ¨John Steinbeck's East of Eden¨ (1955) , which introduced James Dean to movie audiences.

The Sea of Grass (1947) rating : 6/10 . Acceptable and passable but inferior than other Elia Kazan films.

Hepburn and Tracy are woefully miscast in this ennui-inducing bore that is easily the worst of their films -- well, perhaps tied with Keeper of the Flame. The sexual tension, the battle of the sexes, that was the hallmark of their best efforts -- which were the comedies, not the dramas -- is entirely absent here. Hepburn seems uncomfortable as the naive nineteenth-century marked woman who bears her "shame" stoically and alone. Tracy, whose brilliant underplaying made him one of the masters of his craft, sleepwalks through this thing -- with the exception of the scene where his friend Doc, with his dying words, makes Tracy realize what his rigidity has cost him. The great team and their talented supporting cast are cruelly wasted in this dreary soap/horse opera.

It is very hard to not expect a lot from 'The Sea of Grass'. A talented cast, including greats Spencer Tracy and Katharine Hepburn (deservedly one of the most legendary screen pairings) in the fifth of nine films together. An interesting subject. And also that it was directed by one of the most influential directors Elia Kazan, responsible for classics such as 'On the Waterfront', 'East of Eden' and 'A Streetcar Named Desire'.

'The Sea of Grass' turned out to be something of a disappointment. Personally don't think it is that bad, not enough to make Kazan himself disown the film and regret making it, but it doesn't do Tracy, Hepburn or Kazan justice and doesn't really allow them to play to their strengths or show what made them as popular as they were and still are. All three have done much better than this, as far as Kazan films go from personal opinion it is down there with his worst and sees him at his least involved. And it is definitely a lesser film for Tracy and Hepburn together, might actually put it below 'Keeper of the Flame', had formed the opinion of that film being their weakest but that was before re-watching 'The Sea of Grass' and noticing more flaws with it than remembered. It also sees them both in lesser roles to usual (especially Tracy).

Certainly there are good things. Cannot fault the production values, the sets and costumes are handsome and evocative but it's the quite outstanding cinematography that is particularly good in this regard. It is scored with a stirring atmosphere too.

Although they come too far and between, there are moments of tension and pathos, especially in a tragic scene later on involving Robert Walker. The supporting cast are very good, with Edgar Buchanan running away with the film. Harry Carey comes close, while there is sturdy support from Phyllis Thaxter, Robert Walker and Melvyn Douglas (whose chemistry with Hepburn is much stronger than hers with Tracy).

Mainly because the chemistry between Hepburn and Tracy isn't really there, seemingly curiously detatched. Neither of them are at the top of their game either, Hepburn is much better and is still quite good (she's heartfelt and spirited) but Tracy is out of his depth and looks like he wants to be somewhere else. Kazan's direction is uncharacteristically undistinguished and like he was not interested in the material.

Not that one can completely blame him there because the script is far too heavy in the soapy melodrama and rambles badly. Meaning that the story becomes long-winded and fails to sustain interest, due to the pace becoming very sluggish (a problem for a film that also felt overlong) and some of it is lacking in plausbility. Am another person to dislike the ending, very contrived and considering what was going on in the rest of the film what happens and the decision that is made just doesn't ring true at all and doesn't make sense.

Overall, far from a must avoid but to see what is appealing and influential about Kazan, Tracy, Hepburn and Tracy and Hepburn's chemistry it's best looking elsewhere because none are really done justice here. 5/10 for mainly the production values and the supporting cast. Bethany Cox

Young woman in 1880 St. Louis marries a cattle-baron who wields a powerful, occasionally unpopular and unfeeling hand. The couple settles into their New Mexico ranch-house, where she soon has a child, but the days and weeks of loneliness get to her and she shares in a flirtation with the smitten local attorney. Conrad Richter's novel becomes somewhat misbegotten vehicle for Spencer Tracy and Katharine Hepburn, though the stars do make valiant attempts to lend believability to these characters. Richter's story is full of stop-and-start melodrama, which nearly sabotages the central relationship (particularly since screenwriters Marguerite Roberts and Vincent Lawrence have given all the best dialogue exchanges to the supporting players, many of whom ultimately fare better than the leads). Melvyn Douglas works very simply with Hepburn and they have an easy rapport; Robert Walker (as the grown son Douglas fathered with Kate) brings along a nice swagger; Edgar Buchanan (as the cook) and Harry Carey (as the local doctor) have seldom been so endearing. It's difficult getting a handle on Tracy's reserved, unimpressed Colonel. Blank-faced and slack jawed, Tracy puts a great deal of thought into this complicated man but walls himself up from the audience in the process. Hepburn, in her early scenes, radiates nervous warmth and good will, but turning her into a black-wearing drudge filled with regrets was probably a mistake. Overlong, not particularly satisfying...yet the film has something. It's handsomely-made, reasonably well-paced and is certainly unusual coming from this high-powered star-duo. **1/2 from ****