Across the Wide Missouri

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

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.

This movie, for me, is just plain fun and it invokes a lot of memories at 68 years old. My grandfather, 1879-1966, used to speak the Chinook Trading Jargon. The Jargon was a trade language made up of English, French and Indian. It was primarily used on the west coast and as far east as Montana as a common language for trading etc. When I was a little boy my granddad and I used to talk back and forth in Chinook. What we hear in the movie is quite accurate, although they speak too fast for me to keep up with. Needless to say, that with the passage of time, the language has all but disappeared from everyday use. There are, however, people dedicated to keeping it alive and they sometimes have a yearly "rendezvous" where it is spoken and lessons are taught.

Thank you very one for your time. Klahowya Sikhs. (Goodbye friends).

This film does a good job of portraying the story of the mountain men who trapped beaver in the Rocky Mountains and played a significant role in winning the West. Clark Gable is the star of this film. He plays a trapper who falls in love with a Blackfoot maiden (Maria Elena Marquez). He buys her from a Nez Perce chief hoping to use her to get into the good graces of her grandfather, a Blackfoot leader. Ultimately, he falls in love with her.

The romance between Gable and Marquez is the real story of this film. It is much more believable than the relationship between James Stewart and Debra Paget in "Broken Arrow". In the first place, the two of them can't talk to each other. Gable needs an interpreter to talk to his wife. The relationship compares to the forced marriage between Robert Redford and a Flathead girl in "Jeremiah Johnson". Gable's affection for his Blackfoot wife is obvious throughout the film.

The film paints a much kinder picture of Native American life than many Westerns. Like Dewey Martin's character in "The Big Sky" Gable returns in the end to the Blackfeet. He has learned to value Indian life and wants to raise his son with her mother's people.

The film portrays the real life capture of fur trapper John Colter by the Blackfeet. Captured by a young chief named Iron Shirt Gable must run for his life. The film should have taken more time with this exciting scene. It is far too short and not nearly as exciting as it should have been. I enjoyed Henry Fonda's run for his life in "Drums Along the Mohawk", but it was very poorly done here. Colter's successful escape from his Blackfeet captors deserves a better rendering.

This film is worth watching for the beautiful high mountain scenery and the romance between Gable and Marques. The soundtrack is not particularly original, giving us constant variation on the old standard "Shenandoah", but it is pleasant listening. Enjoy it.

This is one of Clark Gable's better films of the 1950s, though it never really got that much attention and many have unjustly written it off as "just another Western". However, if you watch it you'll find that the film has two major points that make it unique and a very beautiful film. First, the film is about the period BEFORE that shown in most Westerns. The typical Hollywood Western occurs between 1866-1880, though there are a few exceptions before and after. However, very few deal with life in the West circa 1829 when the only White men were fur trappers. Since I am a history teacher, I admire this about ACROSS THE WIDE MISSOURI. Second, the film humanizes the Native Americans much more than most films and there are no "black and white" groups in the film. Many of the Indians are quite decent but they also are not uniformly good either--and the same goes for the trappers. I particularly loved the relationship that developed between Clark Gable and his Indian bride. It did a lot to build sympathy for the characters and once again truly humanized both characters. The only real negative about this is that three of the key Indian roles are played by non-Indians (J. Carrol Naish, María Elena Marqués and Ricardo Montalban)--a standard practice in the time it was made.

While these two points make this a memorable film, it sure doesn't hurt that this film has some of the most vivid and beautiful scenery of any film of the 1950s. It's obvious that this wasn't filmed on some sound stage or filmed in the outskirts of Los Angeles! So overall, what's not to like about this film?! Excellent acting, a great script and a uniqueness make this a film worth seeking.

By the way, this film is highly reminiscent of the wonderful Robert Redford film, JEREMIAH JOHNSON--another film well worth your time.