Cimarron

I did not see this when it was new. I remember thinking that it wasn't worth the effort then. It is less worth it now.

Its device is its scope, both in time and size. There are not one but two land grabs. it spans 25 years and much attention is spent on the theatrics of the sets. It must have been a strange year for this to have done well. At least we can value it to the extent that its success for Columbia made the scope of Lawrence of Arabia possible for MGM.

The story here is only there to support a celebration of settlers of Indian territories and to pull out a specific type which we are to admire as an ideal, an ideal American.

He is a champion of justice and a man of action. His adherence to certain principles punishes him. He is a proponent of civil rights here coded as Indian rights. What's not to like?

Well. He loves the adventure of the land. We get great vistas that anchor him in the place, a convention of Westerns since Ford. But he is not a man of the land, he is a city boy who likes adventure. That's this film's basic undoing of ideals.

It's reflected in the parallel western convention of woman as place. This guy loves deeply but he just can't settle with a woman. We see two.

When they meet, they talk of wives as mothers, companions and lovers. We are to admire that he does not need the first, is companion to nearly everyone and is deep in his love.

The narrative power of this idea by itself would be weak in any package. It is even worse here because of the inept direction. We see this more sharply now because of the obsolete acting and staging styles.

Ann Baxter is a pretty prostitute whose story of self is close to our hero. Though she has less screen time than the immigrant wife, we are to see her as genuine. It's really about her as the land, as the place, and why it isn't the blond wife.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

I just caught this movie on TCM and, up front, I tend to hate these kind of oats-sudsers. This movie had so much going on (plot, characters, cameos, Western clichés) that it just screamed Cinerama (Think 'How the West was Won') but it had one major aspect that took me by surprise: a well-written and extremely well-acted characterization by Maria Schell. She's actually the major star of this movie...Glenn Ford disappearing entirely the last 1/4.....and she handles every bit of it with humor, passion, and just the right amount of country ham. She's never a perfect wife or mother, and doesn't just change to fit the scene. I was just killing time watching this...and I honestly was fascinated. I had no idea who it was until I looked it up here (I hate that TCM often doesn't run credits) but now I want to see some other performances by her to see if she was this good all the time.

Cimarron is mostly directed by Anthony Mann and written by Arnold Schulman. It's based on the Edna Ferber novel of the same name and was previously made into a film in 1931. It stars Glenn Ford, Maria Schell, Anne Baxter, Harry Morgan, Russ Tamblyn, Mercedes McCambridge and Lili Darvas. Franz Waxman scores the music and Robert Surtees is the cinematographer. It's a CinemaScope production, filmed in Metrocolor and exterior locations were shot in Arizona.

--At high noon April 22, 1889, a section of the last unsettled territories in America was to be given free to the first people who claimed it. They came from the North, they came from the South and they came from across the sea. In just one day an entire territory would be settled. A new state would be born.

They called it Oklahoma--

With changes from both the novel and the 1931 film, Cimarron 1960 was a big budgeted production. With a huge cast and a running time to match, it was expected to be an epic winner for MGM. It wasn't. For although it has undoubted qualities to please the keen Western fan, it has just too much flab on its belly to let it run free. On the plus side is Surtess location photography and Anthony Mann's ability to stir the blood by way of his action know how. The highlight of the film, and certainly a Western fan's must see sequence, is that of the actual "land-rush" that forms the narrative starting point of the film. A stunning collection of crashes, bangs, death and heartbreak are put together by Mann and the heroes that form the stunt team. Sadly the bar is raised so high so early in the film, it's all down hill from there for expectation and actuality. With the last third of the film laborious in the extreme as an ill equipped Maria Schell attempts to carry the dialogue driven heavy load.

The story is a good one, and Schulman's adaptation doesn't want for trying to reach epic horse opera status. But it's just not a fully formed whole, it comes out as a small group of fine scenes slotted into a gargantuan story of no real distinction. How else can you react to having sat thru two hours of film, to get to the big historical oil strike, to find the film petering out into a series of uninteresting conversations? Much of the problem can maybe be put down to problems off screen? Mann was fired towards the end of production, to be replaced by Charles Walters (High Society), while producer Edmund Grainger himself added scenes in an attempt to clarify the relationship between Yancey (Ford) and Sabra Cravat (Schell). The latter of which was without Mann knowing. This probably accounts for why the final third is so dull. The cast are mostly safe, with Charles McGraw and Aline MacMahon standing out in support slots, the latter of which excels during a graveside scene. But Tamblyn is hopelessly miscast and McCambridge and Baxter are, for different reasons, underused. Waxman scores it as more reflective than sweeping, tho the accompaniment for the "land-rush" sequence is boisterous and uplifting, while hats off to the nice costuming by Walter Plunkett; where Baxter, and us the viewers, benefit greatly.

The great scenes make it a film for Western fans to seek out. But in the context of two of the genre's heroes in Ford and Mann, it's one to easily forget about. 5.5/10

"Cimarron" is much like two films crammed together. The first half is exciting and enjoyable in many ways and the final portion is dull and seems to drag on forever...and then some! Rarely have I seen a film this different at the start and at the finish. As a result, it's a real mixed bag of a movie...worth seeing but it sure should have been a lot better.

When the film begins, Cimarron Cravat (Glenn Ford) is back East to marry a recent immigrant, Sabra (Maria Schell). Her way of life is about to change radically, as she's moving from relative comfort to the wide open Oklahoma Territory in 1889. Cimarron wants to go there for the giant land grant but many things seem to get in the way of his and Sabra's plans. They don't get the land they wanted and soon Cimarron finds himself running a newspaper. He also finds himself a do-gooder--one of the only men willing to stand up to evil. And here is where you start to see cracks in their marriage. Cimarron has a very strong sense of right and wrong but his wife just wants stability and security at all costs. As the years pass, this gulf between them widens and ultimately they both go their separate ways. What's next for the duo?

This Edna Ferber saga is basically the recent history of Oklahoma-- from territory to statehood--and all wrapped around the fictional story of the Cravats. At times exciting and interesting (such as when Cimarron repeatedly risks his life to stand up for the local Indians) and others long, long and long!!! And, rather depressing when all is said and done. The first half merits a 9 and the last a 2! Rarely have I ever seen a film this uneven.

Edna Feber's saga about newspaper editor and his reluctant wife settle in an Oklahoma boom town along with his fiery ex-girlfriend at the end of the nineteenth century . The picture has an opening credits prologue : At high noon April 22, 1889 a section of the last unsettled territories in America was to be given free to the first people who claimed it. They came from the north and they came from the south and they came from across the sea. In just one day an entire territory would be settled. A new state would be born. They called it Oklahoma. As when the government opens up the Oklahoma territory for settlement, restless Yancey Cravat (Glenn Ford) claims a plot of the free land for himself and moves his family there from Wichita. A newspaperman, lawyer, and just about everything else, Cravat soon becomes a leading citizen of the boom town of Osage. Once the town is established, however, he begins to feel confined once again, and heads for the Cherokee Strip, leaving his family behind. During this and other absences, his wife Sabra (Maria Schell) must learn to take care of herself and soon becomes prominent in her own right.

This impressive epic/historic Western contains thrills , action , shootouts and soap opera . The picture deals with historical deeds as forty years of social and urban progress in American life from 1889-1929 ; the effects of empire building and the Way West are seen through the life of a progressive newspaper editor/lawyer in Oklahoma, and the wife who resents his longing for the excitement of the frontier in the years after the Oklahoma land rush. It results to be a remake to ¨Cimarron¨ (1931) that had Oscar Winner for best picture and best screenplay , being directed by Wesley Ruggles with Richard Dix , Irene Dunne and Estelle Taylor . Yancey Cravat, the character well played by Glenn Ford, was based on real-life lawyer and gunfighter Temple Houston - the son of Sam Houston, who was portrayed in Man of conquest (1939) starred by Richard Dix and upon whom the 1960s western TV series Temple Houston (1963) was based . Nice acting by Anne Baxter , in her memoir "Intermission," Anne Baxter hints that Ford and Schell had become very close during production, but by the time the movie premiered in Oklahoma, the two were not speaking to each other . Secondary cast is frankly excellent , with plenty of familiar faces such as Arthur O'Connell , Russ Tamblyn , Mercedes McCambridge , Vic Morrow ,Robert Keith , Charles McGraw , Harry Morgan, David Opatoshu , Vladimir Sokoloff , Mary Wickes , Edgar Buchanan , L.Q. Jones , Royal Dano and special mention to veteran Aline MacMahon

Overwhelming production design by George W. Davis , among others ; in fact , the land rush scene took a long time to film, using thousands extras, several cameramen, still photographers and a lot of camera assistants . Colorful and evocative cinematography in Cinemascope by Robert Surtees , a magnificent cameraman expert on super-productions . Rousing and breathtaking musical score by classic composer Franz Waxman . This sprawling ¨Soaper¨ picture was lavishly produced by Edmund Grangier and professionally directed by Anthony Mann , though this director was fired near the end of filming and replaced by Charles Walters . Rating : 6 . Decent epic western though overlong and some moments turns out to be indifferent and boring , but it is still worthwhile watching .