Die Karawane

The first great western epic, The Covered Wagon established many of the cliches that appear in many subsequent westerns, both "A" and "B" features alike.

Here for the first time, we have the wagon train of eastern settlers trekking west in search of a new land and a new start. We have the circling of the wagons in preparation for the Indian attack, the attack itself and the ride to the rescue of the besieged wagons.

Cruze captures the feel of what a real wagon train journey must have been like. The long lines of slow moving covered wagons, the dusty trails, life and death situations on the prairie, as well as the celebrations around the campfire.

The sub-plot of boy-girl-villain is "B" western calibre, however, the players carry it of admirably. J. Warren Kerrigan as the hero is adequate but not memorable. The lovely Lois Wilson as the heroine and a young Alan Hale as the villain are much better. It is curious that the Cruze portrayed legendary mountain man Jim Bridger (Tully Marshall) as an absent-minded, liquor swilling comedy relief.

The ending is strictly Hollywood. Boy gets girl of course and the villain is defeated, but I thought that the final shoot-out left a little to be desired.

Despite its apparent faults, The Covered Wagon remains today as powerful a film as it must have been in 1923.

Monumental in scope and mamouth in nature, March 1923's "The Covered Wagon" has been acknowledged as the first epic movie Western. One TV personality, Joe Franklin, even called this "the first American epic not directed by Griffith." What makes "The Covered Wagon" such a pioneering work is not because it was the highest production budget for a Western film yet, over $750,000, and was the number one box office draw for 1923. The movie established iconic scenes future Westerns films would copy. The motion picture was the first to show realistic views of the pioneering frontier, which included a convey of authentic covered wagons from California's first settlers that had been lovingly preserved. In addition, the trials the wagoners went through during their journey, such as river crossings, Indian attacks, severe weather, even quicksand, are all seen in one complete package. Lastly, a buffalo hunt, although minuscule in comparison to more impressive modern day episodes in today's films, is undertaken. The number of buffalos back in 1923 was a fraction of today's amount, so the producers gathered what small number of the animals living back then for the hunting sequence.

During the river-crossing scene where horses were hauling the wagons across a deep ford, actress Lois Wilson was so traumatized witnessing two horses drowning she returned to her tent and didn't work the rest of day.

"The Covered Wagon" was the final of many Lois Wilson and J. Warren Kerrigan movies where they paired up as a romantic couple. The irony of the matrimony roles they played through that span, neither one actually married in real life. Wilson, appearing in over 150 movies, made the transition to sound, but retired in 1941 over the type of roles she was offered. She wrapped up her acting career in three network soap operas, including 'The Guiding Light' and 'The Secret Storm.' Actor Kerrigan's career was sinking like a rock when he receive the romantic lead in "The Covered Wagon." A rising star in the mid-1910's, he made an insensitive comment when the United States entered the Great War in 1917, stating actors, musicians, great writers and other artists shouldn't be sacrificed on the battle front. "I think that first they should take the great mass of men who aren't good for anything else, or are only good for the lower grades of work," he callously said. That statement and the fact he was living with his mother as well as a partner, actor James Vincent, in the same house, sunk his standing in Hollywood. His friendship with director James Cruz got him the lead role in "The Covered Wagon." The movie was President Warren G. Harding's favorite film as well as the creator of Godzilla, Japanese producer Tomoyuki Tanaka. "The Covered Wagon" was also nominated for American Film Institute's '100 Most Thrilling Film Ever Made' category.

THE COVERED WAGON was based on the novel of the same name by the now forgotten writer Emerson Hough and recounts the 1848 trek of a wagon train from Kansas City to Oregon. It remains a landmark film in many ways. Originally planned as just another Western programmer, it was expanded by director James Cruze into the TITANIC of its day. Like TITANIC, it cost a fortune to make and made a fortune at the box office.

Cruze, the son of Mormon parents, grew up in Utah and could still remember the Old West as it really was. He saw this film as the opportunity for him to advance beyond the programmers and Fatty Arbuckle features that he had been doing at Paramount up until then. He demanded total authenticity which included not only the original locations, but also a cast of 3000 (including real Native Americans) and over a hundred genuine Conestoga wagons. Despite the enormous expense and the prolonged shooting schedule, the film was one of the biggest successes of the Silent Era and Cruze was on his way to becoming one of the top directors of the 1920's (another of his epic films OLD IRONSIDES is also available on home video).

The acting is restrained by the standards of the time which helps the film to play well with modern audiences. J. Warren Kerrigan and Lois Wilson are OK as the lovers but the film belongs to character actors Alan Hale Sr.(the father of GILLIGAN'S ISLAND's Skipper), Tully Marshall, and Ernest Torrence. Watching the film is like having history come to life before your eyes. The print used for the DVD is of high quality with a colorful score by Gaylord Carter, one of the last great practitioners of silent film organ playing. Many thanks to Paramount for making this landmark epic along with several other silents available for home viewing and at a reasonable price too...For more reviews visit The Capsule Critic.

THE COVERED WAGON (Paramount, 1923), directed by James Cruze, is a western, a large scale western, in fact, was reportedly one that became the inspiration of future western epics of similar theme and nature, consisting of hero, heroin, villain, two old scouts for comedy flavor, Indians, cattle, and a large assortment of movie extras for authentic feel to the pioneering days in American history.

From the novel by Emerson Hough and adapted by Jack Cunningham, the curtain rises presenting the traditional opening credits prior to the introducing inter-titles of what's to be shown: "The blood of America is the blood of pioneers - the blood of lion-hearted men and women who carved a splendid civilization out an uncharted wilderness. With dauntless courage facing unknown perils, the men and women of the "forties" flung the boundaries of the nation. Westward and still westward, beyond the Mississippi, beyond the prairies, beyond the Rockies - until they bounded the United States of America with two oceans." "Westport Landings, 1848, since called Kansas. In May of that year, a great covered wagon caravan gathers together from every section or the Ohio and Missouri valleys, eager to brave the two thousand miles of hardship that lay between Westport and Oregon." Taking part of the 2,000 miles of hardship between Westport and Oregon is Will Banion (J. Warren Kerrigan), veteran of the Mexican War and selected leader of the Liberty Boys. Though engaged to marry Sam Woodhull (Alan Hale), Molly Wingate (Lois Wilson) very much prefers to put off their wedding until after reaching their destination. Suspecting Molly to be in love with Banion, Woodhull does everything possible to discredit him, even to a point of spreading rumors of he being a cattle thief. A violent battle between the two rivals not only causes Molly to not ever wanting to see Banion again, but forcing the traveling caravans to go on their separate ways - Banion taking charge of one group while Molly's father, Jesse Wingate (Charles Ogle) leads the other, each facing their own unforeseen dangers and hardships ahead.

As westerns being part of American cinema practically from its humble beginnings, with Broncho Billy Anderson, Tom Mix and William S. Hart as legendary names associated in that genre, by today's standards, THE COVERED WAGON, lacks any top marquee names of interest. J. Warren Kerrigan, who slightly resembles the gentle profile of John Boles than a rugged leading he-man type of Kirk Douglas, is one actor who, with an assortment of film roles to his credit, suddenly disappeared from movie making by 1924. Lois Wilson, who never achieved super stardom, resumed further into the sound era, while Alan Hale, the most recognizable face here, would play a variety of character parts until his death in 1950. Overlooking the cliché story and troublesome romantic subplot and Johnny Fox's banjo "singing" of Stephen Foster's "Oh Susannah" on a couple of occasions, this 98 minute epic tale does offer notable highlights of interest, including caravans crossing the deep river, prairie fire, Indian attacks, among others.

With countless imitations over the years, John Ford's THE IRON HORSE (Fox, 1924), a prime example, Paramount's Zane Grey's based story, FIGHTING CARAVANS (1931) starring Gary Cooper (DVD title: "Blazing Arrows"), bears a strong resemblance to THE COVERED WAGON, especially with the support of COVERED WAGON co-stars Ernest Torrence (Bill Jackson) and Tully Marshall (Jim Bridger) reprising their original named roles.

Out of the television markets since its public television presentation of the weekly series "The Toy That Grew Up" (WNET, Channel 13, New York City, 1965-1972) where THE COVERED WAGON was severely edited in to fit into its sixty- minute time slot, the film was later restored to its original length, distributed to video cassette in the 1990s equipped with clear picture quality and excellent Gaylord Carter organ score for viewer's enjoyment. Westward Ho!(***)

Unfortunately time has not been particularly kind to this slow moving curiosity piece about a wagon train of pioneers headed to Oregon. The story is ordinary, the characters, not surprisingly, strictly archetypes, from the noble but modest hero (the incredibly dull J. Warren Kerrigan), to the wide eyed heroine (pretty but bland Lois Wilson), who never can seem to make up her mind who she prefers, Noble Hero (who has a rumored tarnished past) or conniving bad guy fiancée (Alan Hale, yes, I said Alan Hale, without a sign of a smile on his face). The audience is way ahead of the double minded lady as to whom she will finally choose.

James Cruze directed the production and failed to enliven or distinguish any of the much needed action sequences, whether it be a big scene, an Indian attack on the wagon train, or a smaller one (a fist fight between Kerrigan and Hale).

The film is noteworthy, however, for its photography, and in showing the far flung vistas on the horizon, does convey a sense of bigness. Also enlivening the film to a degree are the performances of Tully Marshall as a fur trapper and, in particular, Ernest Torrence as a grizzled wagon scout, stereotypes as they may be. Torrence and Marshall are entertaining enough that eight years later they would be reunited for essentially the same roles in a 1931 wagon train tale of negligible entertainment value, Fighting Caravans.

The Covered Wagon might have been considered to be a big deal for the film world in 1923 but today this trip put west is, I'm sorry to say, is just not a standout. Maybe I just expected more because Paramount silent are so hard to find and, many times, they really are standouts.