Tulsa

No need to repeat the plot. Darn few actresses can dominate a "man's picture" like Tulsa the way Susan Hayward does. What an exceptional combination of beauty and boldness she was. The production values of this non-studio project are unusually well targeted. Without them, the movie would be little more than a good programmer instead of the sleeper it is. Credit those values (special effects, location shooting, etc.) to producer Walter Wanger, who proved he had an eye for quality material, both big budget and small, e.g. Invasion of the Body Snatchers (1956). Credit too, under-rated director Stuart Heisler with a sense of pacing and an ability to redeem difficult material with intelligent touches, e.g. Beachhead (1954), Storm Warning (1951), etc.

I especially like the nightmare montage of Redbird's (Armendariz) after he's set fire to the wells. Up to that point, the derricks have been portrayed as stately umbilical cords of wealth and progress, the life's blood of the city and state. So it's a surprise to see them suddenly depicted as hulking black monsters threatening everything around them. Contrast that dark depiction with the uncritically sunny, yet thematically similar, mega-hit Giant (1956). It doesn't take much extrapolation to update Redbird's vision to the oil-based crisis of today; at the same time, the values that evolve among the movie's characters show a surprising sensitivity to the need for a sustainable environment.

I also like the way Indian Charlie Lightfoot (Yowlatchie) is shown as excelling at white man ways by becoming a shrewd businessman. Too often Hollywood portrayed Indians at extremes, either as bloodthirsty savages or as noble primitives, but rarely as 3-dimensional human beings. The screenplay may pander at times, especially with Pinky (Wills), but it's also unusually well-rounded for its period. I guess my only reservation is with the splendid special effects. Those burning oil fields are just so incredibly hot, it's impossible to see Brady (Preston) enter the inferno with little more than a squirt of water. Nonetheless, in my little book, the movie is a definite sleeper. True, as the lovelorn outsider, Pedro Armendariz is no quirky James Dean. Yet, despite its relative obscurity, Tulsa is as well-acted and carries as much depth as its sprawling, better-known counterpart, Giant.

The fine performance by Susan Hayward makes all of "Tulsa" worth watching, and the exciting finale caps it off with a bang. The tone is not always consistent, varying from serious treatment of environmental and ethical issues to the folksy, ultra-upbeat narration by Chill Wills. But Hayward is consistently interesting to watch, and the story is generally told at a good pace, with some good scenes along the way.

Hayward plays the daughter of a rancher, seeking revenge against a large oil man who caused the death of her father and the destruction of his valuable livestock. Along the way, she makes the fateful decision to beat the oil baron at his own game, which has some tumultuous consequences for her and those close to her. It's quite a good role for Hayward, and she is believable as her character first seeks justice, and then gradually starts to become what she had been fighting against.

The occasional overly-positive emphasis on the role of the oil industry is balanced out by some good efforts to discuss some of the environmental problems caused by large-scale drilling. And even though it is never stated explicitly, several of the scenes create a noticeable contrast between the simple beauty of the Oklahoma prairies and the bleak ugliness of fields filled with endless rows of oil wells.

The firefighting climax is exciting to watch, and it is a rather impressive piece of film-making as well, with believable action and visuals. Although the finale does not really resolve most of the important issues, it works well on screen.

The supporting cast is solid and likable, with Wills, Robert Preston, and Pedro Armendariz. For the most part, their characters are not fleshed out, since Hayward is the center of attention, but the other characters occasionally get their moments.

Overall, "Tulsa" is somewhat above average, with some noticeable strengths in the mix.

Susan Hayward doesn't back down when it comes to protecting what is hers. Her character is embroiled in the early wars between wildcat oil drillers and cattle ranchers in Oklahoma. A pretty fast paced movie that stays busy. The oil field fire is a tremendous sight. Chill Wills, Robert Preston and Ed Begley round out the super cast.

Susan Hayward is perfectly cast as Cherokee "Cherry" Lansing, a cattle rancher's daughter in 1920s Oklahoma with a need to succeed. She lucks into land leases which are ripe for wildcat oil-drilling, quickly taking on her benefactor's professor son as a partner to combat her main competitor, a wealthy oil baron who owns the land neighboring hers. Brawling, robust tale filmed in rich Technicolor, skillfully written by Curtis Kenyon and Frank Nugent and tightly directed by Stuart Heisler. Hayward is backed solidly by a fine supporting cast, including Robert Preston in a Rhett Butler mustache and Pedro Armendáriz as an Indian kindred spirit whose friendship comes to mean everything in the end. Some of the comedic overtures are corny, and the noisy climax goes on too long; otherwise, an engrossing, entertaining, well-oiled mix of history, romance, ambition, and pride. **1/2 from ****

This film took me by complete surprise with great acting by veteran actors, Susan Hayward, (Cherokee Lansing) and Robert Preston, (Brad Brady). The film starts out with Cherokee and her father who raise cattle on their ranches in Tulsa, Oklahoma and one day they find all their cattle dying along a stream of water and as they smell the water, they realize the oil refining business was contaminating the soil and killing the cattle. Cherokee goes with her father to tell them about what their oil business is doing to their cattle and while they are talking, an oil structure struck oil and a large part of a building fell on her father and killed him. It was from this point in the film when Cherokee Lansing decided to get revenge for her father's death and declares war on the oil men and their owners. There is plenty of action and even some romance. There is great photography of a fire burning through an oil field and people risking their lives in order to save their oil fields and friends and family.