The Sea of Grass

"The Sea of Grass" showed up on cable recently and out of curiosity, we watched it, based on the great director at the helm, and the cast involved in it. Unfortunately, Elia Kazan wasn't up to the task of directing the Conrad Richter novel about the post pioneering days. In fact, this film sort of falls flat as neither Mr. Kazan, or its stars, show any semblance they were much interested in the project.

One would imagine that to bring together Spencer Tracy and Katherine Hepburn to play the leading roles would inspire the rest of the cast, but alas, it wasn't meant to be. The film is, by no means, a total failure, on the contrary, but there are no sparks in it to keep the viewer interested.

As someone remarked in this forum, we don't get anything from the Colonel and Lutie in the way of love, from the start. For the romance they were living on the sly, the stars don't light up for the camera to give us a hint they are in love in real life. The only one that shows any spunk is Melvin Douglas, who as Brock, can't hide his love for Lutie. The supporting cast is good, with some excellent minor performances by Phyllis Thaxter, Edgar Buchanan, Ruth Nelson, James Bell, and the rest.

Watch "The Sea of Grass" if there's nothing better playing at the same time.

The Sea Of Grass is slow moving and talky, but not as bad as many have portrayed it. If I told you without cluing you in on the title I had a top-production 1947 MGM picture staring Spencer Tracy, Katharine Hepburn, and Melvyn Douglas, you would be expecting a glossy white telephone movie with a love triangle and lots of high melodrama from the three stars. That's essentially what you get here, only replace the white telephones with elk antler hat racks, the swank park avenue apartments with rambling ranch houses, and the busy New York street scenes with a dusty, one-horse, Nineteenth Century New Mexico town. The Sea Of Grass is a soap opera dressed up as a Western. If that is what you are expecting, instead of a traditional shoot-'em-up, you may be much more pleased with it.

The three stars deliver their usual stellar performances and three fine, textured character studies. Old, smoothie Douglas is particularly effective as a hard-edged attorney and later judge, cattle baron Tracy's stalwart opponent and Katherine's illicit lover, father of her second child. The large supporting cast shines, led by Edgar Buchanan and Harry Carry. Over rated Robert Walker is over-the-top as usual, but fun to watch. Production values are superb with terrific luminous, old nitrate black and white cinematography typical of the era, a rich Herbert Stodhart score, good, authentic costumes, great sets with some spectacular location scenery dovetailed in for long shots of Southwest grasslands and cliffs. Principally concentrating on relationships, the story moves along at a glacial pace, but the stars and an intelligent, if messy, script hold interest. Some of the dialog is a little preachy and overblown, but it is generally believable and satisfying. There is hardly any action until the last reels, and even then it is half-hearted and ultimately just peters out. The major subplot is the traditional Western theme of cattlemen versus homesteaders, but the eventual showdown comes early and is anti-climatic. Nevertheless, the movie is engrossing and enjoyable for the acting and the production values. It is refreshing to see a movie about the Old West that concentrates on decent real people and their real life problems instead of just dwelling on brawls between lowlifes who hang out in brothels and saloons.

The Sea Of Grass is not bad, but not as good as it should have been with all it had going for it. Director Elia Kazan reportedly said he was ashamed of the picture, and he should have been. The overly slow pacing, lack of spark between Tracy and Hepburn (they were off-screen lovers!) , and other problems clearly resulted from his flabby direction. With three top stars at the peaks of their careers, an intriguing story, and a big budget, The Sea Of Grass should have been a much better picture. And it would have been if Raoul Walsh had directed it.

Considering that Sea of Grass is helmed by a director who's not familiar with the western milieu it's amazing that it comes off as well as it does. Elia Kazan is so much better in an urban setting like On the Waterfront. Yet Tracy and Hepburn do make this work on some levels.

John Wayne in McLintock and Spencer Tracy in Sea of Grass have the same view of the prarie. Both films take the side of the cattle rancher as opposed to the farmer. Certainly other films like Shane make the farmer the good guy. But events here show that Tracy was right about the prarie as his arch rival in politics and love, Melvyn Douglas, ruefully points out.

Tracy and Wayne also have spousal problems, although certainly Wayne handles his with a tad more humor. One thing that Maureen O'Hara does and Katharine Hepburn doesn't is share his vision of the prarie. She befriends the farmer family nearby and that is what causes the rift between her and Tracy.

McLintock is a comedy and Sea of Grass is a western soap opera. Kazan was lucky in casting folks like Edgar Buchanan and Harry Carey who knew their way around a western. Robert Walker was taking some tentative steps toward a similar role in Vengeance Valley. He only appears in the last half hour of the film as the kid with dubious paternity, but you will remember him.

Katharine Hepburn would have to wait another 28 years before doing another traditional western in Rooster Cogburn. Eula Goodnight is certainly light years from Lutie Cameron. Colonel Jim Brewton though is the same type cattle baron as G.W. McLintock.

I think the film is more for fans of soap opera than for fans of westerns. And certainly it's for fans of Spence and Kate.

It is very hard to not expect a lot from 'The Sea of Grass'. A talented cast, including greats Spencer Tracy and Katharine Hepburn (deservedly one of the most legendary screen pairings) in the fifth of nine films together. An interesting subject. And also that it was directed by one of the most influential directors Elia Kazan, responsible for classics such as 'On the Waterfront', 'East of Eden' and 'A Streetcar Named Desire'.

'The Sea of Grass' turned out to be something of a disappointment. Personally don't think it is that bad, not enough to make Kazan himself disown the film and regret making it, but it doesn't do Tracy, Hepburn or Kazan justice and doesn't really allow them to play to their strengths or show what made them as popular as they were and still are. All three have done much better than this, as far as Kazan films go from personal opinion it is down there with his worst and sees him at his least involved. And it is definitely a lesser film for Tracy and Hepburn together, might actually put it below 'Keeper of the Flame', had formed the opinion of that film being their weakest but that was before re-watching 'The Sea of Grass' and noticing more flaws with it than remembered. It also sees them both in lesser roles to usual (especially Tracy).

Certainly there are good things. Cannot fault the production values, the sets and costumes are handsome and evocative but it's the quite outstanding cinematography that is particularly good in this regard. It is scored with a stirring atmosphere too.

Although they come too far and between, there are moments of tension and pathos, especially in a tragic scene later on involving Robert Walker. The supporting cast are very good, with Edgar Buchanan running away with the film. Harry Carey comes close, while there is sturdy support from Phyllis Thaxter, Robert Walker and Melvyn Douglas (whose chemistry with Hepburn is much stronger than hers with Tracy).

Mainly because the chemistry between Hepburn and Tracy isn't really there, seemingly curiously detatched. Neither of them are at the top of their game either, Hepburn is much better and is still quite good (she's heartfelt and spirited) but Tracy is out of his depth and looks like he wants to be somewhere else. Kazan's direction is uncharacteristically undistinguished and like he was not interested in the material.

Not that one can completely blame him there because the script is far too heavy in the soapy melodrama and rambles badly. Meaning that the story becomes long-winded and fails to sustain interest, due to the pace becoming very sluggish (a problem for a film that also felt overlong) and some of it is lacking in plausbility. Am another person to dislike the ending, very contrived and considering what was going on in the rest of the film what happens and the decision that is made just doesn't ring true at all and doesn't make sense.

Overall, far from a must avoid but to see what is appealing and influential about Kazan, Tracy, Hepburn and Tracy and Hepburn's chemistry it's best looking elsewhere because none are really done justice here. 5/10 for mainly the production values and the supporting cast. Bethany Cox

In Michel Ciment's book " Kazan par Kazan" which is actually a very long interview (à la "Hitchcock by Truffaut"),the director recalled how painful the filming of "sea of grass " was for him:first of all,he complained for a subject like that SHOULD have been filmed on location and we can find little fault with his opinion;besides ,he had to use the Tracy /Hepburn pairing,two actors he admired but who were miscast here;"Tracy did not like horses and horses did not like Tracy either" .His wife should have been a frail young girl,which Hepburn was not :"she was clever but she was part of the high society.." The one thing Kazan seemed to appreciate was her crying;but reportedly Louis B Mayer watching the rushes complained: her tears does not flow from her eyes ,but from her nose;it looks like snot!" Among all my movies this is the one I like the least" he concludes.

With hindsight,the film retains qualities and I do not think anyway that it is worse than the disastrous "last tycoon" which IMHO,is Kazan's absolute nadir.Hindsight displays its charms.Considering the limitations Kazan was working under,it's a wonder that the scene where Hepburn and Tracy are in front of the "sea of grass" listening to the noise and to the silence (of the Buffalos -now they are gone- and of the Indians -now in the reservations-) is really poetic.We can also save the scene of the storm ,where the farmer (David) has to fight his wealthy neighbor (Goliath).The historical context ,the end of the prairie of grass and the coming of the farmers ,is interesting.

Robert Walker's character ,an unstable boy ,predates James Dean in "East of Eden" by eight years:too bad the part is underwritten.The fact that he was born of adultery is almost passed over in silence ,except for one scene or two.

It is not my Kazan's favorite or even among my favorites,but it's a film to watch if ,like me,you are interested in the director's oeuvre..

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"Giant" Georges Stevens 1955