El luchador de Kentucky

John Wayne's second effort as star/producer (after "Angel and the Badman", in 1947), "The Fighting Kentuckian" is a VERY enjoyable tale, set in 1818 Alabama, of coonskin-capped Wayne, part of the Kentucky militia, falling for French immigrant Vera Ralston (in her second film with Duke), and discovering a plot to swindle the French community (composed of ex-officers of Napoleon, and their families) out of their land, by aristocrat John Howard and ruthless river boss Grant Withers.

What truly makes this film 'special' for me is Wayne's sidekick, portrayed by the legendary Oliver Hardy, of 'Laurel and Hardy' fame. Hardy, while a friend of Wayne, had only worked 'solo' once in a feature film in over twenty years (1939's "Zenobia"), and it took a LOT of coaxing (and Stan Laurel's 'blessing'), to get him to accept the role...and what a pleasure he is, to watch! Wayne and Hardy have a rich, warm chemistry, and the rotund comedian, with his infectious smile and Georgia drawl, makes even minor scenes (like swapping recipes with Ralston's mother) a joy.

With a first-rate supporting cast including Philip Dorn, Hugo Haas, Wayne 'regulars' Paul Fix, Jack Pennick, and Hank Worden, and Marie Windsor (who looks eerily like John Howard, in my opinion!), "The Fighting Kentuckian" is, despite the 'pans' you'll see in some of the reviews posted, one of my favorite John Wayne films...He was never more charming than you'll find him, here!

Back in the late '70s-early '80s, my local station of WBRZ-2 had aired the "John Wayne Theatre"-which showed many of his movies, primarily from Republic. This was one of the movies from that studio-Wayne's home for a great many years. When stumbling into this one on a Sunday afternoon, I was pleasantly surprised to see among the players one Oliver Hardy-a rare film he made without his usual teammate Stan Laurel. I taped this picture in the mid '90s off of American Movie Classics but didn't watch it until now. I'll just now say that Mr. Hardy is quite an amusingly pleasing presence doing some of his familiar mannerisms but also a little different from his "Ollie" character. The highlight may be a fiddler-playing sequence of which Hardy's Willie Payne can play but Wayne's character can't! There's more but I'll just say go ahead and watch The Fighting Kentuckian if the mood fits you! P.S. This version had wraparounds by host Nick Clooney-George's father. In the beginning one, he mentions leading lady Vera Ralston had given Hardy a gift of a deck chair-specially made to fit his girth! In the one after the movie, he erroneously mentions this was Ollie's final film-his actual very last one was Atoll K (Utopia in the U.S.), once more with Stan Laurel. Oh, and since one of the locations of The Bluegrass State mentioned in the movie was Lexington, I have to mention that my family had briefly lived there in '74-'75 and my youngest sister and sibling was born there.

In 1817, following a land-grant Act of Congress, written to aide Napoleon-supporters in the War of 1812, 340 French families settled on four townships in Alabama. They arrived in Mobile, Alabama on the ship "McDonough" and made their headquarters in a small community named "White Bluff." A year later, with the community developed into a thriving village by their labors, they renamed it "Demopolis," an ancient Greek name meaning "City of the People." These Napoleonic exiles chose not to give it a French name that would recall their native land.

These cultured colonists, from the drawing rooms and military heritage of the old French aristocracy, were likely the least-prepared of any of the immigrant groups who settled the American wilderness, and soon found themselves pioneering the rugged interior of Alabama with illiterate traders, squatters and Indians for their neighbors. They called themselves "The Association of French Emigrants for the Cullivation of the Vine and Olive", but their attempt at olive and grape culture was a complete failure. The Indians taught them how to grow corn and beans, but when they discovered that through a surveying error they inadvertently had built their city outside the chartered boundaries, they drifted away, either returning to France or settling in Mobile or New Orleans. But Napoleon was no great hand when it came to reading maps and recognizing boundaries, either.

Director/writer George Waggner took the surveying mistake and converted it to a land-grab scheme, threw in a motley group of rugged Kentucky militiamen, returning from the Battle of New Orleans, used the most diverse cast in any of the American-frontier films from Republic...and then tossed in ten pounds of plot into a five-pound container. Most of which worked. Aside from the thematic song, a traditional called "Kentucky Marching Song", in which he wrote new lyrics to go with George Anthiel's arrangement. Neither of which, apparently, spent much time on the writing or the arranging.

In The Fighting Kentuckian John Wayne steps back a couple of generations on the American Frontier from where he usually has his movie roles to play a frontier soldier. He's one of the Kentucky riflemen who saw action in the Indian wars and the Battle of New Orleans with Andrew Jackson. His company is going home to Kentucky to be de-mobilized. But in a town in Alabama called Demopolis, Wayne gets a bit sidetracked by the lovely Vera Hruba Ralston.

Ralston is the daughter of Hugo Haas who plays one of Napoleon's former generals who is now leading a party of French exile settlers who have settled on land granted to them in Demopolis. The problem is that the French settlers are being set up for a big con game by a quartet of villains, Marie Windsor, Paul Fix, John Howard, and Grant Withers. Because of Wayne's growing involvement with Ralston he and sidekick Oliver Hardy get drawn into the problems of the settlers.

That's right I did say Oliver Hardy. While partner Stan Laurel was having health problems Hardy did this film with John Wayne and another, Riding High, with Bing Crosby. It's a different Ollie we see in The Fighting Kentuckian, not the know it all forever getting hoisted on his own petard by his bumbling partner Laurel. For most of the film he's a traditional sidekick to Wayne in the Gabby Hayes tradition. However there is one scene where Ollie gets to use the Duke as a substitute Stan Laurel. Wayne and Hardy sneak into a party given by Haas as musicians, fiddlers to be precise. Hardy actually plays, but Wayne is going to fake it. That is until the piece they're playing calls for a solo. As each musician does his bit, the expressions on Wayne's face are pure Stan Laurel. Ollie who was never the creative one in their partnership had to have coached Wayne on this. He does all the traditional Stan Laurel shtick, but cry. It's very funny, totally not what you would expect from John Wayne. It's the highlight of the film for me.

On the negative side the film is a bit overplotted. The quartet of villains mentioned above are all not quite working in tandem. Each one has his own agenda and it makes the film a bit hard to follow.

Still I believe the Duke's fans will enjoy a somewhat different John Wayne and Laurel and Hardy fans would appreciate Wayne's attempts at a salute to Stan. I think Ollie worked better with the Duke than he did with Harry Langdon in Zenobia.

An American Western-comedy; A story set in Alabama, 1812, about a Kentucky trooper who makes a long journey homeward with his army confrère and becomes involved with a robber baron's plan to deprive hundreds of French army refugees of land promised by Congress, and he acts to prevent the villain's marriage to the daughter of a former French general. This is a routine Western with incessant chases and gunfire. The romance is stilted with no chemistry between John Wayne and Vera Ralston, who sounds more Czech than French. However, it is a boisterous distraction with sparkling photography, and the excellent comedy performances shine through its medicore storyline. John Wayne has screen presence, and his light humour complements the piece very well, never overshadowing Oliver Hardy's marvellous physical comedy, which is a treat to watch: two great light comedy performances. As an aside, though, Hardy is only slightly pugnacious here, which will feel muted in comparison to his high acclaim for his other pictures acting alongside Stan Laurel.