Cimarron

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 .

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.

Sorry but despite the fact that the 1931 version of this novel was the only western film to win an Academy Award for Best Picture it does not compare to the entertainment value of this version. True this is perhaps not the best adaptation of Ms. Ferber's novel, but then how many films are perfect adaptations of their source material. There are wonderful scenes missing from this adaptation, but then there are wonderful scenes missing from the adaptation of GWTW. No, I am not comparing this to a classic like GWTW. But the '31 version is not in the same class as GWTW either. This film should be taken for what it actually is, a good solid epic entertainment with spectacular scenes and good performances. Glenn Ford is perfect casting for Yancy. His performance is far superior to that of the overripe, stilted scenery chewing one delivered by Richard Dix in the original. Ford's boyish manner easily captures the charming immature nature of the character. Maria Schell is on a par with Irene Dunne. It is a pity her character was rewritten from the novel to be weaker than Ferber intended. This was obviously done to make the film Ford's but she's still gives a performance that is on the money. As so do the myriad supporting players in the film. Back in 1960, MGM obviously needed a big movie to move into the theaters that had been playing "Ben-Hur" for over a year. So this production was rushed to completion to fit the bill. The fact that it was shot in Cinemascope instead of a "Big" 70 mm process is evidence of this. It has been written that the production was shut down before the scripted ending could be filmed. This explains the rather abrupt and somewhat awkward end to the film. Perhaps a regular non "Roadshow" release might have fared better both with the critics and at the box-office. It often seems that those who praise the older version over this film have seldom actually seen the former. For many years the 1931 version was not available for viewing. During that period many film historians gushed in their praise of it. When it finally reappeared on screens most of them found it very creaky and revised their opinions but the older opinions are still in print, available and read. True, they didn't change their opinion of this version, but the older fell into proper perspective...Cinema History and rather dry history at that. While this version is not a classic it remains good entertainment. Compare it to "How The West Was Won" made by the same studio just a few years later.

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

I admit to not having read the book (but will now go to abe.com to find it!) or seen the earlier film, but find it interesting to compare this enjoyable movie with 'Giant'(Stevens, 1956), which incidentally also had Mercedes McCambridge in it, also concerned an essentially ill-matched couple, prejudice, mixed-race marriage, early oil-barons, and also takes in a number of years in which we see the characters grow older.

Unlike the other reviewers here, I did NOT find Maria Schell's accent annoying in the least. She makes a wonderfully believable pioneer (note: the accent is genuine, which also sets her apart from many other Hollywood 'foreigners') and she has a pleasingly natural acting style. She shines beautifully when she is interacting with other women, be it the wildcat and part-time prostitute Anne Baxter in one of the finest scenes of the film (smouldering and feisty but underused I think) or the earthy and magnificent McCambridge, whose subtle but hilarious Southern accent is expertly modulated and a joy to the ear. So many scenes between women in Westerns of this time are somewhat flat and stagey, but I think they're superb here and set this film apart.

Glenn Ford is good, and although the film rather tries to do too much (as does Giant, in my opinion), it's really a fun way to spend a rainy afternoon or even a hot afternoon. Plenty happens along the way and it has something to say.