High, Wide and Handsome

This beautifully presented Hammerstein-Kern musical is about the oil rush in western Pennsylvanian just before the Civil War. With oil wells gushing, farmer Randolph Scott and circus singer Irene Dunne fall in love and get married; the wedding ceremony is capped by the well on his land coming in. Yet that harbinger of prosperity is the death knell of their marriage, as laughing railroad tycoon Alan Hale determines to take over the industry, and Scott has to work hard, and Irene sees their love slipping away. So she returns to the circus.

Paramount obviously had high hopes for this movie, assigning Rouben Mamoulian to direct and cinematographers Vic Milner and Theodore Sparkuhl to supervise the cameras. The cast is likewise excellent: Dorothy Lamour, Raymond Walburn, William Frawley, Charles Bickford, and Akim Tamiroff are just two of the actors adding their talents to the spectacle.

Unhappily, the score is not among the best of the Hammerstein-Kern efforts. Other reviewers have expressed their admiration for Miss Dunne's rendition of the sentimental "The Folks Who Live on the Hill." I prefer Frawley's "Will You Marry Me Tomorrow, Maria?", but there isn't much to it, and and old-fashioned orchestration -- suitable for the 1860 setting -- makes the songs unmemorable.

What's left is the "little guys against greedy capitalists", and there are some beautifully shot sequences, especially when the circus (complete with elephants) comes to the rescue of the men building the pipeline. Yet while the camerawork makes the movie always engaging, the tired story and bad score limit it to that.

Without all the unnecessary singing, I'd score this on a 7 or possibly an 8...as I really did enjoy the plot. But the singing was a distraction...and what's worse is that it wasn't very good. I love Irene Dunne as an actress but as a singer...well, she was a fine actress.

The story is an unusual one because it's about the nation's first oil wells which were created in Western Pennsylvania in 1859. It begins just before this and a medicine show arrives in town. After a freak fire breaks out and leaves the show stranded, some of the locals take in the medicine show folk. One of them is Sally (Irene Dunne) and soon she is in love with the son of the old lady who took her into her home. As for Peter (Randolph Scott), he looks like a perfect catch for Sally...but little does she know that he's about to strike oil and the oil business would dominate their marrage and sour it as well.

In many ways, this reminded me of the later MGM film "Boom Town", as it's also about the oil business as well as its negative impact on a new marriage. Both are worth seeing, but I'd prefer "Boom Town" simply because it lacks the pointless songs of "High, Wide and Handsome"....none of which are memorable and just seem unnecessary.

Overall, worth seeing IF you don't mind the songs. The finale is pretty neat and the acting quite good.

The first fifteen minutes of High, Wide and Handsome are very silly. Irene Dunne, her father Raymond Walburn, and his sidekick William Frawley are part of a snake oil salesman act. Then their wagon (full of oil) burns up and they're left with nowhere to go. Randolph Scott and his mother Elizabeth Patterson put them for the night. You might as well fast-forward through all that because it's so stupid you'll want to turn it off. I actually did turn it off, only to resume it a couple of years later for Randolph Scott's time as Star of the Week.

The rest of the movie is really good, so I'm glad I gave it another chance! No one knows exactly why Randolph Scott left traditional Hollywood and did westerns with his own production company, but when you see him in the 1930s, you'll see him giving his heart to different performances. Although his westerns were very popular, my heart aches that he wasn't given the A-tier Hollywood movies. He could have easily stepped into Shane, High Noon, or any John Wayne flick. He had the talent, the looks, and the onscreen energy to take Hollywood by storm. But I've never seen him exercise his acting chops more than in this movie. In one passionate speech, he's actually moved to tears in order to inspire the workmen to finish the job. He's romantic, determined, and ambitious, convinced that there's oil in the hills. No matter what anyone says, he continues to drill - and one day, it all pays off. But Irene loves him for the country bumpkin he used to be; will everything change when they're rich?

This movie didn't need to be a musical, especially since Irene Dunne only sings a few songs that don't really matter to the storyline. Scottie McScottie Pants never sings, but he does get to gaze adoringly at her as she serenades him. They have such fantastic chemistry together in this movie (and a steamy bedroom kissing scene) it makes you wonder if the sparks flew off the screen, too. With the love shining from his eyes, his blonde curls, and his strong muscles as he drills for oil, you almost forget anyone else is in the movie. But there is Irene Dunne, who loves him above all else, and you'll also see Dorothy Lamour briefly, and a young, brown-haired Charles Bickford!

No objections against Rouben Mamoulian's expert directing, not against Irene Dunne with her reliable singing and acting either, but Randolph Scott never qualifies as an A-actor, he always appears as rather inferior to those he plays against, and here also the intrigue is rather mellow. His girl Irene Dunne is only good for acting and singing with her circus in musicals, while Randolph's only interest is his ambition for oil and money. How could they possibly go well together without skirmishes? Naturally, Randolph gets enemies for his ambitions, and his great project gets constantly sabotaged by brute force used in foul play by his enemies, leading to one disaster after the other. The finale is grandiose in its final battle, but this is no film for those interestd in human psychology and depth of intrigue. It is a very superficial story of ambition and success, and not even the music is very good - Jerome Kern certainly could do better, and you miss the charm of "Love Me Tonight" and its gorgeous spirituality with a dominating sense of everything important missing.

I saw this movie at the Belmont theater in Nashville, TN when I was 5 or six years old. I have been looking for this movie for years. The only thing I could remember was the song, not the movie title, the composer, the actors: nothing but the song and that it came from a movie. Only tonight, 22 April 2004, did I learn the name of the movie. If anyone could tell me how I could get a copy of this movie I would be deeply grateful. Thank you. I have three versions of the song: by Bing Crosby recorded in 1937, by Arthur Tracy, The Street Singer, and by Andy Williams. None of the albums credit the movie or the composer or lyricist. Any information of other renditions would also be appreciated. NEW UPDATE: I now have a complete VHS version of this movie. I would like to thank all of you who helped me in this endeavor. If anyone would like a copy, please contact me and I will be happy to help you also.