Oro, amor y sangre

At the end of Michael Curtiz's enormously successful Dodge City in 1939, Olivia DeHavilland decides she's married a professional lawman after all so Guinn Williams ends the film with a resounding, 'Virginia City here we come' as Errol Flynn will now take the job offer of marshal.

Too bad that they didn't make a sequel with those same characters. A year later when Virginia City was made it was a fanciful Civil War out west tale about a Confederate scheme at the last minute to smuggle several millions in gold bullion into the South for supplies to keep the war going. And what happens in the end strains credulity to say the least.

Carried over from the cast of Dodge City are Errol Flynn, Guinn Williams, Alan Hale, and Ward Bond. Olivia DeHavilland chose not to make the trip. At that point in her career she was fighting with Jack Warner to not keep playing crinolined heroines. So Miriam Hopkins was the leading lady here.

Other reviewers have said how lousy Miriam Hopkins was as a singing saloon chanteuse. In fairness to Miriam I have to point out that she's a Confederate spy singing a Union song, The Battle Cry of Freedom with about as much enthusiasm as she can muster. And she's also in that establishment the Sazerac saloon, not being paid for her voice.

Errol Flynn, a former prisoner at the Confederacy's Libby Prison, after an escape gets an assignment to check out rumors that Southern sympathizing mine owners are going to smuggle their find into the Confederacy. At the same time the former commandant of Libby, Randolph Scott, gets an assignment to bring the gold out.

Of course when they meet at the Sazerac all pretense to undercover is out the window. But Scott's got an ace up his sleeve in Miriam Hopkins who Flynn is kind of sweet on. She leads Errol astray and into the Confederate hands. Talk about true life casting, Errol being led astray by his hormones.

There's a third player in this game and that's Humphrey Bogart who plays the Mexican bandit leader Murrell with an accent like the Frito Bandito's. Bogey was also fighting for some better roles and in fact he got one the same year in High Sierra that would turn his career around. What possessed Jack Warner to cast him in this role, God only knows. Bogey's looks dumb in this part and he knows it. Why couldn't they just get someone like Gilbert Roland for the part?

There's quite a shootout in the desert over the gold. What happens to it is rather unbelievable, let's just say that Errol Flynn took a great deal upon himself and he was quite the lucky fellow to get the fate he got.

Virginia City is entertaining enough in a B western sort of way. But if I had three film icons like Errol Flynn, Randolph Scott, and Humphrey Bogart in my film, I'd sure have looked for a better property, pardner.

VIRGINIA CITY, the "non-sequel" to Errol Flynn's big 1939 hit, DODGE CITY, gives the impression that the Warner Brothers were suffering from a shortage of good Western scripts in 1940. The film 'borrows' much of Max Steiner's DODGE CITY musical score, reunites Flynn with DODGE CITY costars (and friends) Alan Hale and Guinn 'Big Boy' Williams (playing virtually the same characters, with different names), and attempts the visual 'sweep' of DODGE CITY, in black and white, with a smaller budget. What is most memorable about the film, however, are two truly offbeat casting choices; Humphrey Bogart as a half-breed Mexican bandit, and tone-deaf Miriam Hopkins as a saloon singer. Bogart did NOT want to do the film (he felt himself miscast in westerns), but faced suspension if he didn't 'show up' for work, and his unconvincing Mexican accent and forced performance give clear evidence to his unhappiness with the role. Hopkins, whose reputation had been established in pre-Production Code sex comedies and dramas of the early thirties, was, at 38, already past her prime, and unbelievable as a love interest for either Flynn, or Randolph Scott. As a 'sexy' chanteuse, her singing is so incredibly bad that it must be heard to be believed!

The plot, of an undercover Union captain (Flynn) attempting to wrest a shipment of southern gold from a wagon train headed by the Confederate colonel (Scott) who had run the prison camp he'd previously escaped from, gets bogged down in subplots, and, in trying to appease viewers from both sides of the Mason-Dixon line, makes everyone so noble that you wonder why there was a Civil War! Certainly, in Randolph Scott's case, the role wasn't much of a stretch, and would be one he would repeat frequently, with minor variations, for the next twenty years. Tasmanian Flynn, however, appears more comfortable in the Western genre than he had in DODGE CITY, and, after the on and off-screen battling with Bette Davis in his previous film, THE PRIVATE LIVES OF ELIZABETH AND ESSEX, it must have felt like a vacation (even with hated director Michael Curtiz helming the project!)

VIRGINIA CITY is, ultimately, a 'B' movie with an 'A'-list cast and crew, and while the end result isn't terrible, it isn't a film that either Flynn or Bogart would list as among their best efforts.

This is a follow up (but not a sequel) to Dodge City (1939). That movie had ended with Errol Flynn and Olivia de Havilland's characters leaving for Virginia City. Next year, the director Michael Curtiz and leading actor Errol Flynn are back together to film Virginia City, but the characters are different and de Havilland has been replaced by Miriam Hopkins.

This movie, unlike Dodge City, is black & white, but it does have stunning cinematography, with exteriors filmed in Painted Desert among other places. I thought it had a very good story, only slightly spoiled by a corny ending. It is a western and also a spy story, with a union agent (Errol Flynn) and a confederate one (Randolph Scott), who have a history together, competing to get the gold that was meant to help the Confederacy maintain the war effort.

Flynn and Scott did a good job. As in Dodge City, Flynn does not completely convince me as a cowboy. He is a bit too refined for that. But he has such a great camera presence that I don't mind. That guy was born to be a movie star. Hopkins is fine, but she is no de Havilland, and her singing scenes in the saloon are just OK. Then we have Bogart as the evil outlaw who is also after the gold. Much as I like Bogart, he is kind of ridiculous here, between that moustache and the weird accent. I liked him much better as a western villain in The Oklahoma Kid, where he was suitably menacing.

All in all, a very entertaining story. That ending could have been polished a bit more, though.

Imagine the opportunity to see a completely different (and better) cast of Gone With the Wind. Randolph Scott, Margaret Mitchell's personal choice for Ashley Wilkes and Georgia-born Miriam Hopkins, who had her heart set on Scarlett O'Hara, star in Virginia City, alongside my personal favorite contender for Rhett Butler: Errol Flynn. The cast is reason enough to rent this old western, because it's not often you get three "cast-offs" in one picture.

The plot is quite interesting, too. Errol is a Union soldier who escapes from a Confederate-run prison, run by Randolph Scott, the most famous Southerner of the silver screen. On his way to Virginia City, Errol meets and is enchanted by Miriam Hopkins. He thinks she's a great lady, but she's actually a saloon girl and a Confederate! The fly in the ointment is Humphrey Bogart, who plays a Mexican bandit. This is Humphrey Bogart, folks. Even his mustache doesn't seem Mexican.

Besides that, this is an entertaining movie, and well timed. Those of you disappointed by the casting of the 1939 epic can sooth their disappointments with this 1940 western. By itself, it's not really my favorite of its genre, but I really enjoyed seeing all three of them together. The only thing cuter would have been if Errol and Scottie played brothers, since they look so much alike! If you like this one, try So Red the Rose, a Gone With the Wind precursor with Scottie playing the Ashley Wilkes character and Margaret Sullavan as the flirty Southern belle.

Errol Flynn (Bradford) and Randolph Scott (Irby) are on opposite sides of the American Civil War. Both end up in Virginia City to get their hands on a consignment of gold that could influence the outcome of the war. Miriam Hopkins (Julia) provides the romantic interest for these two men to fight over, while Humphrey Bogart (Murrell) heads a gang of bandits who also go after the gold. Who gets the gold?

This is an interesting western in that, even though Flynn and Scott are pitted against each other, neither is clearly identified as a goodie or a baddie. The bad guys are Bogart and his mob. Whilst many reviewers point out that Bogey and Hopkins are miscast, I say "so what?" They are not bad, apart from Hopkins' singing. Ouch! Bogey is one of the film's highlights, with every appearance bringing on an "Oh good, he's back" reaction. I find him a very likable bad guy. I far prefer him in this type of role to a leading good guy character, when I find he never quite wins me over. Errol Flynn has star quality but it is Randolph Scott that surprised me and does the best job of actually acting. Unfortunately, we also have the comedy characters as played by Alan Hale (Olaf) and Guinn 'Big Boy' Williams (Marblehead) for Flynn's sidekicks – not needed. Cast some credible sidekicks, please! Flynn is very capable of passing off his own type of humour if that's what the director thinks is needed.

The film has a rather far-fetched, cop-out ending that includes Abe Lincoln and while I'd say that the film is a little too long, it has a cast of 3 leading men that keep you watching. Essentially, it's a spy story with an honourable message.