Across the Wide Missouri

Honesty seems the first quality of this Wellmann work:it uses no less than three different languages:English,Indian language and French:it's really great fun to hear the cast sing on Xmas day the Canadian "Alouette gentille alouette" en Français dans le texte...even if the words have nothing to do with Christ's birth.

The second strong point is scenery:the landscapes are breathtakingly beautiful and the color is splendid indeed.Mountains and forest are lovingly filmed .

A lot of people will probably note similarities with Delmer Daves's famous "Broken arrow" which was released the precedent year .It's almost the same ending.I would favor Daves's work over Wellmann's because his characters are more endearing , his story more absorbing and the relationship characters/nature more convincing.But "Across the wide Missouri" is worth watching :the story is told by Gable's son who appears as a baby in the movie and shortly as a child .One scene is particularly touching,even if we realize it only afterward:Gable and his Indian wife are kissing each other while the small child is watching.There are a lot of deaths in this often cruel story,but neither the White nor the Indians are demeaned.

When one watches western films of the latter half of the 19th century, the settlement of the west was on a course that was nothing but bad for the American Indian. As good as some westerns are, always lingering in the back of any viewer's mind is the thought that no matter what the predicament of a given hero/heroine in any film is the fact that the might and power of the United States Cavalry will ultimately tip the balance towards the white man.

But the fur trappers of the early half of that century faced a far different situation. They were few and the Indians at that point outnumbered them. These people as typified by Clark Gable and the rest of the cast in Across the Wide Missouri were the really brave ones in our history. They wanted to trap their beaver and sell their pelts and the last thing they wanted was wholesale immigration of settlers. It took a lot of nerve to live in that lonely existence, days and weeks at a time where you couldn't count on a troop of soldiers to bail you out of trouble.

I'm a big old sucker for films about the earlier west and two good ones came out at this time, this one and the following year from RKO, The Big Sky. I give the nod to this one thought because it was done in color and on location.

Gable gets one of his best post World War II parts as the sturdy Flint Mitchell, mountain man who falls big time for Indian princess Maris Elena Marques. While grandfather Jack Holt approves of a white husband for his granddaughter, the match don't sit well at all with Ricardo Montalban his successor. The climatic duel between Gable and Montalban is staged very well indeed and quite thrilling.

Playing various fur trapper roles are Alan Napier, James Whitmore, John Hodiak and most of all Adolphe Menjou. Though one normally expects the debonair Mr. Menjou in tuxedo, he's really quite good as the French Canadian trapper and sidekick to Gable.

Maria Elena Marquess got her first of two chances in Hollywood and did well as the Indian princess. She was already a name in Mexican cinema and became an even bigger star down there due to this film with Clark Gable.

This film marked the farewell performance of Jack Holt who died soon after it was completed. His career spanned all the way back to the earliest years of Hollywood. He makes a very impressive chief of the Blackfeet.

Gable was a rugged outdoors-man in real life, he liked to fish and hunt and brought his fourth wife, Lady Sylvia Ashley on location. Unfortunately Lady Sylvia was not a big fan of the great outdoors and her experiences roughing it contributed to the Gables getting unhitched.

Director William Wellman kept things going at a good clip and though Across the Wide Missouri is slightly over 75 minutes for an A film, it's still a great item and rates being an A film for its cast and its production values.

This is a lyric Western about trappers , it's a homage to integration between human being and Nature , being inspired by the book by Bernard De Voton with screenplay by Talbot Jennings . The story of a tough trapper , titan of a woman and her love for dashing Indian girl . Created by a a great picture maker at incalculable cost with a superb cast of thousands in especially recreated old Rocky Mountains . Turbulent adventure set against the rich ,romantic tapestry of early Colorado state . Trapper Flint Mitchell (Clark Gable) and other mountain men from the Rendezvous join forces to enter virgin trapping territory but must contend with a resentful Blackfoot chief . Flint marries an Indian woman (Maria Elena Marques) so he can trap beaver pelts on her people's rich land . On the trip to the Indian territory however , he falls in in love with his bride .

This colorful film contains beautiful scenery , tempestuous Indian attacks , war , lawless raids , a love story , intrepid men and women ; at last , in all its wild , brave magnificence , the motion picture of valiant trappers . Deliberately paced , elegiac Western , including marvelous landscapes from Rocky Mountains . Interesting historical/drama/Western is slightly marred by the continuous use of narration provided by Howard Keel . This poetic film focuses the insertion of human being into nature . Most of the "Native Americans" in this movie are all portrayed by Hispanic or Caucasian actors, because there was a noticeable lack of Native American actors at MGM at the time this movie was made. When the original version of the finished film was submitted to MGM executives, they didn't like it. The film went through heavy editing, and a producer had the idea of tying together the surviving pieces by adding voice-over narration from Mitchell's grown up son, as if he is telling his father's life story. Howard Keel, who had just finished making Magnolia, was brought in for this purpose as voice in off . The changes led to director William A. Wellman effectively disowning the film. When asked about it in an interview, he said "I've not seen it, and I never will" . Gable gives a good acting as a rugged fur trapper who marries an Indian woman , Clark along with Maria Elena Marques form a memorable couple . Clark Gable personally chose William A. Wellman to direct because he admired ¨Battlegroud¨. Lively acting from support cast as Adolphe Menjou as a French tippler , J Carrol Naish as quirky Indian Chief , and John Hodiak , Alan Napier as two Scottish men . Furthermore, debut of Timothy Carey and final film of Jack Holt .Evocative cinematography shot with heavy Technicolor cameras by William Mellor , filmed on location in Durango, Colorado,La Plata Canyon, San Juan National Forest, Durango, Molas Lake, Silverton, Colorado,Ouray County, Haviland Dam, San Juan National Forest, Little Boyce Lake, San Juan National Forest,Denver & Rio Grande Western Railroad, Durango, Colorado . Sensitive as well as enjoyable musical score by David Raskin , including an agreeable leitmotif .

The motion picture was stunningly directed by William A Wellman , a veteran professional from silent cinema . Wellman has directed all kind of genres as Wartime : ¨Alas¨ , ¨Battleground¨ , ¨The story of GI Joe¨ , ¨Lafayette Escadrilla¨ , Drama : ¨Nothing sacred¨, ¨Blood Alley¨ , ¨Good my lady¨ , ¨Magic Town and the Oscarized ¨A Star is born¨ , his greatest success , Adventure : ¨Beau Geste¨ , Gangster movie : ¨Public enemy ¨, and Western : ¨Buffalo Bill¨ , ¨The Ox-Box incident¨ , ¨Westerward the woman¨ and this A¨cross the wide Missouri¨. rating : Above average , worthwhile watching .

One of the most frustrating things in cinema is that of the interfering studio. Too many films, since cinema became the medium so massively loved by so many, have fallen victim to this most poisonous fly in the cinematic ointment. One such film to suffer greatly is the William A. Welman directed Western, Across The Wide Missouri. All the elements were in place, a fine story written by Talbot Jennings & Frank Cavett, which is worked from Bernard DeVoto's historical study of the American fur trade in the 1830s. Wellman (The Call Of The Wild/Beau Geste/Battleground) at the helm, Hollywood's golden boy Clark Gable in the lead, and a sumptuous location shoot around the San Juan Mountains to be photographed by William Mellor. With all the talk coming out of MGM that they wanted to make an "epic" picture, hopes were high for the early 1950s to have a Western classic on its hands. Enter studio boss Dore Schary who promptly cut the piece to ribbons. So much so that the film, where once it was epic, is now a choppy and episodic 78 minute experience. With a narration by Howard Keel tacked on by Schary just so we can try to make sense of what is (has) gone on. Wellman was rightly miffed and tried to get his name taken off the credits.

Amazingly, what remains is still a recommended piece of film for the discerning Western fan. The locations are just breath taking, expertly shot in Technicolor by Mellor, at times rugged and biting, at others simply looking like God's garden. This part of the world is the perfect back drop for the story as the white man's greed brings them into conflict with the Native Americans. The film also boasts an array of interesting characters, we got the Scots and the French represented alongside the usual suspects, while the tracking and fighting sequences are expertly filmed by the astute Wellman. It was a tough shoot all told as well. Ricardo Montalban {Blackfoot Indian Ironshirt} was involved in a horse riding accident, the consequence of which would severely affect him later in his life, while stunt man Fred Kennedy suffered a broken neck when his intentional fall from a horse did not go as planned. The horses too you can see really earned their oats, trekking up hill across sharp jagged rocks and ploughing through snow drifts, magnificent beasts they be. Joining Gable and Montalban in the cast are John Hodiak, James Whitmore, María Elena Marqués, Adolphe Menjou and Alan Napier. David Raskin provides a suitably at one with the atmosphere score. With Gable on form mixing with the high points that Schary left alone, Across The Wide Missouri is more than just a time filler. But the problems do exist and it's impossible not to be affected by the annoyance that comes with the old "what might have been" that gnaws away at the viewer at every other turn. 6/10

"Across the Wide Missouri" was planned as a sprawling saga of early 19th Century Americana, so there are questions as to how and why it ended up in its present truncated 78 minute form, not much longer than a "B" picture. There shouldn't be any argument that director William A. 'Wild Bill' Wellman's original vision was grander in scope, even epic. Evidence of the cutting can be clearly seen in the cover of the DVD, which duplicates the original one sheet poster. Actor James Whitmore, a big favorite of Wellman's, is given co-star billing and is listed fourth overall in the cast behind MGM leading men Clark Gable, Ricardo Montalban, and John Hodiak and ahead of such venerable character actors as Adolphe Menjou, J. Carrol Naish, and Jack Holt.

Whitmore had starred in the director's previous film, "The Next Voice You Hear" in 1951 and had earned an Oscar nomination for his scene-stealing performance in Wellman's iconic 1949 WWII actioner "Battleground." In the released version Whitmore is not billed in the opening credits and does not appear in the 78 minute film until some 33 minutes into the movie. He cannot be spotted with the mountain men in the sizable "Rendezvous" sequence early in the picture and is not seen on the trek over the Rockies until they're halfway there when he suddenly appears out of nowhere on top of a snow-covered mountain. For the remainder of the film he has only a handful of unimportant lines, which makes one wonder why one of Hollywood's most respected character actors would be squandered in what is essentially a bit role. Among the many ironies associated with this film is that, according to studio records, his character's name is "Bit."

Wellman's MGM contract had concluded with the completion of "The Next Voice You Hear," but when Metro found themselves without a director for their scheduled epic, they asked Wellman to helm the film. 'Wild Bill' agreed on the condition that he be allowed to bring his family along with him on location - at the studio's expense, an offer he couldn't refuse when MGM agreed to his request. With three A-list stars, an exceptional supporting class of character actors, and breathtakingly beautiful locations, it should have been a blockbuster. It wasn't.

The blame, if any, can be laid at the feet of studio boss, Dore Schary, who undoubtedly panicked after attending a preview when he found that the audience that had cheered the opening credits "lost interest" about halfway through. Producer Sam Zimbalist, who wasn't involved with the picture, suggested drastic cuts to be bridged by an afterthought narration by Howard Keel. Although scripted by Talbot Jennings, one of the film's co-writers, the narration is leadenly heavy-handed and overly literal and drowns the director's visual subtleties. An embittered Wellman remarked, " They cut out all the action and put in a narration to fill the holes. This was a good, long picture the way I made it. I've never seen it and I never will." Ironically Wellman re-signed with MGM, and his next picture, "Westward the Women," covered some of the same territory as "Missouri," albeit more successfully.

An added irony is that the same Dore Schary, supposedly the most literate and tasteful of all studio heads in Golden Age Hollywoosd, was a serial offender. Only a few months earlier he butchered John Huston's brilliant adaptation of "The Red Badge of Courage" down to "B" picture length of a mere 69 minutes with bridging narration spoken by non-other than... James Whitmore!

One last sad irony... as I write this review, news that Judy Lewis, age 76, passed away today is on the Web. She was the secret love child of Clark Gable and Loretta Young, conceived during the filming of another Wellman Western epic, "The Call of the Wild" in 1935. Miss Young never acknowledged that Lewis was her biological daughter and claimed she was adopted. Lewis' memoir "Uncommon Knowledge" was published in 1995.