High, Wide and Handsome

High, Wide, and Handsome is a forgotten gem of a movie from 1937. Jermone Kern and Oscar Hammerstein created this sprawling musical adventure for the screen following the popularity of the 1936 film version of their musical, Show Boat, which also starred the great Irene Dunne.

Here Dunne plays a singer in a traveling snake oil show run by her father (Raymond Walburn). They bottle "rock oil" and sell it as an elixir. Dunne sings and dances in the show while daddy hawks the tonic. William Frawley plays a fake Indian who is also part of the show. After their wagon burns down, they are taken in by a local farmer (Randolph Scott) and his grandmother (Elizabeth Patterson). Of course Scott and Dunne fall in love, but Scott is sidetracked by his ideas for drilling for oil in 1850s Pennsylvania.

Songs, romance, and action combine to make this an unusual film as the couple battles the local bible thumpers as well as the crooked railroad men, led by Alan Hale. Along the way Dunne rescues a saloon singer (Dorothy Lamour) and runs away with a traveling circus. They pack a lot of story into this 112-minute film.

Dunne is, as always, a total pleasure to watch. She gets to sing almost all the songs in this musical (Scott never sings) and duets with Lamour on "Allegheny Al." The best song is the wonderful "The Folks Who Live on the Hill," which Dunne sings in closeup with a gentle breeze rustling apple blossoms and her lace bonnet. Scott is good in a role usually played by Joel McCrea, but Scott and Dunne have good chemistry. They also worked together in Roberta and My Favorite Wife.

Supporting cast is fine, headed by Patterson as the feisty grandmother, Walburn as the father, Frawley as the Indian (he also gets a number), Ben Blue as a mute, Lamour as the dumb-cluck who sings "The Things I Want" in fabulous close-up, Hale as the corrupt railroad man, Helen Lowell as a gossip, Irving Pichel as the bible thumper, and Akim Tamiroff as the saloon owner. Also of note is Charles Bickford is the bully. Bickford had starred with Dunne is the previous No Other Woman.

Worth looking for.

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.

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.

HIGH, WIDE AND HANDSOME (Paramount, 1937), directed by Rouben Mamoulian, is an underrated musical-drama set in the great outdoors of old Pennsylvania, circa the 1850s. Done in elaborate style, it stars Irene Dunne, following her recent success to the 1936 screen version of SHOW BOAT (Universal). Currently riding high and wide with her brief cinematic period in movie musicals (1935-1938) before focusing more on comedy and dramas, Dunne is cast opposite the tall and rugged Randolph Scott for the second time, the first being ROBERTA (RKO Radio, 1935) opposite Fred Astaire and Ginger Rogers. With a handful of contemporary song and dance, college, and backstage musicals hitting the theaters during this period, HIGH, WIDE AND HANDSOME (is the title pertaining to Randolph Scott or the scenery of old Pennsylvania?) takes a different turn in locale, combining outdoorsy western scenery with songs that has been said to have been an inspiration to the highly popular Rodgers and Hammerstein Broadway 1943 musical, OKLAHOMA, and others like it.

The story begins with Sally Watterson (Irene Dunne), a young girl traveling with her medicine sideshow father named "Doc" (Raymond Walburn), singing the title song as they settle in a western Pennsylvania town. As "Doc" tries selling some medicine bottles to his patrons, which proves to be a fraud by spectator Peter Cortlandt (Randolph Scott), a fight ensues amongst the crowd, damaging their wagon. Being given the hospitality of her home by Peter's grandmother (Elizabeth Patterson), the stranded Sally earns her keep by helping with the farm animals, and soon gets to know and love Peter, a rugged oil prospector, whom she eventually marries. Their marriage, at first, is a happy union, until Peter neglects his wife in favor of keeping his promise with the neighboring farmers by banding together in laying oil pipelines in order to prevent Red Scanlon (Charles Bickford), a corrupt railroad president, from monopolizing the industry. After Sally is found entertaining on top of the table in the barroom with Molly (Dorothy Lamour), a saloon girl she and Peter had earlier rescued from a lynch mob, the couple find themselves in an argument which sends Sally to leave her husband and return to life entertaining in the passing circus show and to her father, while Peter tries to fulfill his pipeline dream, which, at the present time, proves to be more important than trying to find Sally and resolve matters. The elaborate and well staged sequence with thousands of prospectors racing against time to get the gigantic oil pipeline finished on schedule is almost similar to King Vidor's conclusion of OUR DAILY BREAD (1934) where the farmhands are seen rushing to ditch a waterway in order to save their dying crops, but with this production, an added bonus of rugged fighting scenes and one near miss scene adding to the suspense in which the unconscious Scott is nearly crushed by a falling pipe that lands inches from his head. Whew!

Almost forgotten today and rarely seen in recent years, HIGH, WIDE AND HANDSOME has its share of good tunes, with music and lyrics by Oscar Hammerstein II and Jerome Kern, including: "High, Wide and Handsome," "The Simple Maiden," "Can I Forget You?" (all sung by Irene Dunne); "Will You Marry Me Tomorrow, Maria?" (sung by William Frawley); "The Folks Who Live on the Hill" (sung by Irene Dunne); "The Things I Want" (sung by Dorothy Lamour); "Allegheny Al" (sung by Dunne and Lamour) and "Can I Forget You?" (reprise by Dunne). Of the songs, "The Folks Who Live on the Hill," sung by Irene Dunne wearing her old-fashioned wedding gown, comes off best and memorably, as she sings it to her new husband, Peter (Scott) after showing her the dwelling they are to live. Another memorable moment is seeing William Frawley (years before his "I Love Lucy" TV series days in the 1950s) in full voice singing "Will You Marry Me Tomorrow" during a ceremony. While Irene Dunne is no Jeanette MacDonald or Grace Moore when it comes to vocalizing, many forget how well she singing delivery is, and she does it quite well, but unfortunately, on the whole, the songs did not become as immortal as the other Hammerstein and Kern scores.

In the supporting cast are Alan Hale as Walt Brennan, the head of the transportation syndicate; Akim Tamiroff as the foreign gambler, Joe Varese; Irving Pichel as Mr. Stark; Lucien Littlefield, Purnell B. Pratt, and some light "comedy relief" supplied by Ben Blue playing Zeke, a hired hand. Raymond Walburn, a fine character actor appearing here as Irene Dunne's father, performs his task well, almost as if this role were intended with W.C. Fields in mind, especially with similarities in his medicine show man who tries to defraud his public with phony medicine bottles, etc.

Running ten minutes short of two hours, HIGH, WIDE AND HANDSOME is entertaining, quite original for its time, but sadly, a neglected item. A lot of effort went into this nostalgic production, and it shows. The only thing missing, and a real oversight, is Technicolor. Around this time, Paramount produced some fine Technicolor outdoors films, notably THE TRAIL OF THE LONESOME PINE (1936) with Sylvia Sidney, and EBB TIDE (1937) with Frances Farmer. How cinematic this handsome film would have looked in color. But overlooking this minor flaw, it's a movie worth seeing through once, and after its THE END title and list of actors and their roles (and underscoring to "The Folks Who Live on the Hill") before the final fadeout, it may make one wonder why this is among the rarely-seen western-type musicals gems (even with Turner Classic Movies showing August 16, 2019) from the "golden age of Hollywood" period. (***1/2)