Hudson's Bay

To make up for his lack of a French accent in The Life of Emile Zola, and to round out his repertoire of accents, Paul Muni put on a consistent and hilarious French accent in Hudson's Bay. He plays a fur trapper in Canada, and along with his Daniel Boone-like costume and scruffy beard-which wasn't in fashion in 1941 or the 1600s-Paul looks and sounds the part, making this movie all the more delightful.

While the beginning is a little boring, once you get into the heart of the film, it's very entertaining. Paul and Laird Cregar are friends and partners in their fur-trading business. Paul has dreams of opening a trading post, and when he crosses paths with an English nobleman, John Sutton, he devises a plan to turn all situations to his advantage. With charm, humor, and intelligence, Paul makes his way through Indian territory, the royal court, and jail, all with the goal of his trade post in mind. It's very cute how he worms his way through the movie, always with a smile so no one can really get mad at him.

If you're interested in seeing a young Gene Tierney, you can find her in one of her first movies, as John's beautiful love interest. Vincent Price plays King Charles II, and it's always nice to see him before he got type-casted as the creepy villain. It's Paul who steals the show, though, so get ready to love him even more than you already do.

During his career, Paul Muni was a solid and well respected actor. After all, he won the Oscar for Best Actor and was nominated for an Oscar five other times! This is a most impressive record considering he only made a few films...and he was nominated more than 25% of the time he appeared in a movie!

I mention this because I was incredibly suprised by his performance in the movie "Hudson's Bay". He was terrible playing a French fur trapper. Why? Because the performance was so broad and dopey...almost like seeing Huntz Hall playing a Frenchman! According to this performance, French guys roll their eyes or open them wide as saucers and make goofy faces and he is about as subtle as a nudist showing up at a Baptist barbecue!

In this highly fictionalized account of 17th century Canada, fur trappers Pierre and Gooseberry (Muni and Laird Cregar) partner up with a Brit, Lord Crewe (John Sutton) and they plan on making a killing trapping and selling furs. The local native tribes are very willing to work with them because Pierre and Gooseberry respect these people and deal with them fairly. But what is NOT fair is the new governor of French Canada is a crook who tries to steal their furs...especially the prized beaver pelts. The governor claims it's for 'taxes and various fines'...but he's clearly a crook.

The trio manage to escape and son Lord Crewe introduces them to the British king, Charles II (Vincent Price). He turns out to be a bit of an imperious butthead--which is actually pretty historically accurate. He was an inept king in many ways. And, the various folks they meet as they try to start a trading company are greedy and plan on cheating the tribes...to which Pierre (Muni) is appalled! So what's next for our eager beaver-loving heroes?

When it comes to historical accuracy, this film really has nothing to do with the British settling Canada. And, I can find no record of French governors in Canada abusing their power like the guy in this one. So, it's best to assume the film is just a story...not a history lesson. And, as such it is watchable and is worth seeing...at least as a time-passer.

One thing that is very true in the film is the value of beaver pelts. Beaver pelts and beaver hats were the rage and a person could get very rich trapping them...which led to over-hunting.

He's the goofy Quebecois trapper speaking with an accent, that's who. With World War Two raging in Europe, Great Britain was trying to make sure that the French-speaking Quebecois didn't decide to throw another revolution, which is why Laurence Olivier played one in 49TH PARALLEL. Nothing loath, Warner Brothers, not quite knowing how to deal with its acknowledged Great Actor, Paul Muni, who liked nothing better than to disappear into a bushy beard and an accent, cut a deal with Zanuck at Fox for him to appear in this film, in which he appears in a short beard. Which made him very hard to offer as a star and he would make one more war-based picture next year, playing a clean-shaven Norwegian, before disappearing from the screen for a few years. What the heck: George Tobias was cheaper for all-purpose ethnics.

Anyway, this is a pretty amusing picture, if you don't take any of it seriously. The cinematography, co-credited to George Barnes, is very handsome. Muni plays the role for laughs, the roles are filled out with leading character actors and the soundtrack skips between 'Aupres de ma Blonde' and 'Oh, Canada.' Good enough.

Seems they got the costumes more or less right and certainly the names but that's about it. Muni is unbearable in the lead role of adventureous rogue fur trapper Pierre Radisson , attempting financing for an expedition to Hudson's Bay. His eyes , hands , body, in constant exagerrated motion, it's a bit like watching Charlie McCarthy in buckskin. Laird Creager is a little better, less mannered as his partner Grossilliers. There's some action and a portage with natives that looks pretty compelling. That ends of course as soon as sac le bleau tabernac and maple syrup soaked Muni brings everything to a standstill while he "Frenchies up dee atmousehere". Nice to see a very young Gene Tierney turn up looking ravishing and sporting an English accent nearly as mannered as Muni's French one. Good for laughs , maybe.

Fox continued their run of pioneering biopics (that is to say, depicting the life stories of notable historical figures as opposed to the films themselves being particularly groundbreaking!) by recruiting the actor who had been most renowned for this type of fare, i.e. Paul Muni, albeit at another studio (Warners). In fact, Fox had earlier made LLOYD'S OF London (1936), SUEZ (1938), STANLEY AND LIVINGSTONE (1939) and THE STORY OF Alexander GRAHAM BELL (1939) in this vein, whereas Muni had starred in THE STORY OF LOUIS PASTEUR (1936), THE LIFE OF EMILE ZOLA (1937) and JUAREZ (1939). Though HUDSON'S BAY more or less maintained the standard of both parallel cycles, it proved to be Muni's last such vehicle.

Anyway, this revolves around French fur-trapper Pierre Esprit Radisson's opening-up of Canada (at the time mostly populated by Red Indians and referred to as "New France") to do business with Europe and his dream of giving an identity to the still-untamed country. Muni (who actually looks quite a bit like director Pichel, himself an imposing character actor with a somewhat sinister countenance and a distinctive deep voice to match!) was once considered the greatest thespian of his generation, but his hammy acting style – rendered even more ludicrous by a variety of 'funny' accents – has dated badly in hindsight. Mind you, he is still a compelling screen presence and, in this case, he comes across as something of a man of action (whereas he had usually been restricted to presiding over laboratory flasks, books – of both literature and law – and the political arena in defence of the oppressed)!

Typically, the production values and supporting cast are impressive: the latter includes Laird Cregar as Muni's equally uncouth sidekick; Gene Tierney (wasted in a smallish part – despite being second-billed – as the obligatory romantic interest of John Sutton, yet another of the protagonist's companions!); Vincent Price as the British King Charles II (to whom Radisson turns – thanks to banished subject Sutton's influence – when his request of an official Canadian expedition to the rightful French ruler falls on deaf ears and, having ventured forth solo, his prized pelts were subsequently appropriated by the State and himself thrown into prison!); and Nigel Bruce as an aristocrat (who, persuaded as to the benefits that could be reaped by England from the establishment of a Hudson Bay trading-post, vouches for Muni with His Majesty).

Radisson emerges here a man who is able to elicit confidence from the savage people he deals with but, more importantly, he respects them in return – even making it a point to get to know them (so that he can then react accordingly to their unpredictable nature). For one thing, he notices the Redskins cannot withstand alcohol, and that its intake yields unbridled violence – when such an episode occurs, he does the right thing and condemns the man responsible to death by firing squad (even if, being Tierney's layabout brother, he is the prospective in-law of Muni's own pal Sutton!). This form of instant justice is not appreciated by Price (by the way, the King's infamous mistress Nell Gwynn, also puts in an appearance here: for the record, I recently acquired but have yet to watch her own 1934 biopic with Anna Neagle and Cedric Hardwicke as her sovereign lover) on their return, but eventually both he and Tierney resign themselves to the fact that Radisson acted in the best interest of all concerned.