Cimarron

"Cimarron" is much like two films crammed together. The first half is exciting and enjoyable in many ways and the final portion is dull and seems to drag on forever...and then some! Rarely have I seen a film this different at the start and at the finish. As a result, it's a real mixed bag of a movie...worth seeing but it sure should have been a lot better.

When the film begins, Cimarron Cravat (Glenn Ford) is back East to marry a recent immigrant, Sabra (Maria Schell). Her way of life is about to change radically, as she's moving from relative comfort to the wide open Oklahoma Territory in 1889. Cimarron wants to go there for the giant land grant but many things seem to get in the way of his and Sabra's plans. They don't get the land they wanted and soon Cimarron finds himself running a newspaper. He also finds himself a do-gooder--one of the only men willing to stand up to evil. And here is where you start to see cracks in their marriage. Cimarron has a very strong sense of right and wrong but his wife just wants stability and security at all costs. As the years pass, this gulf between them widens and ultimately they both go their separate ways. What's next for the duo?

This Edna Ferber saga is basically the recent history of Oklahoma-- from territory to statehood--and all wrapped around the fictional story of the Cravats. At times exciting and interesting (such as when Cimarron repeatedly risks his life to stand up for the local Indians) and others long, long and long!!! And, rather depressing when all is said and done. The first half merits a 9 and the last a 2! Rarely have I ever seen a film this uneven.

I thought perhaps the reason this version of "Cimarron" butchered its source material was because Edna Ferber was dead by the time it was made. But no, she didn't die until 1968. I can't believe she gave her stamp of approval to this film, which, while visually stunning, bears very little resemblance to her novel.

Glenn Ford was a heck of an actor, but too much the strong 'n' silent type to play such a flamboyant character as Yancey Cravat. Maria Schell's accent is distracting, and her Sabra is whiny, clingy and devoid of most of the strength and heroism I love about Ferber's female characters.

The 1931 "Cimarron" is a far more faithful adaptation of the novel, but be warned: The character of Isaiah (conveniently left out of the 1960 version) is an offensively exaggerated black stereotype, which, unfortunately (sorry, Edna) is also true to the book.

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.

There is a lot right with CIMARRON, but a lot wrong too. Now on DVD in a great transfer/wide screen/stereo sound, it's interesting viewing. Not having read the book I can't compare, but there are several plot doings that don't have any conclusions. The movie is an epic of sorts and would have run hours if everything came together. A bit illocgical at times. Main plot line is Glenn Ford and Maria Schell a newlyweds coming to settle in Oklahoma when free land is available. In the span of over 30 years there is much going happening both good and bad, just like in real life. If I hadn't seen Glenn Ford in so many films I would think his performance would be excellent, but he kind of mumbles and hems and hahs every other sentence in every film he's in. He acts very much like he did in TEASHOUSE OF THE AUGUST MOON just a few years earlier. Better direction was needed for his character. Maria Shell was quite wonderful in a difficult role and she's in almost every frame the last 1/4th of the movie. The support actors are all good to fair. Russ Tamblyn disappoints as the baddie. Anne Baxter does well in an ill-defined role. Looks like most of her performance ended up on the cutting room floor or wasn't even filmed. Too many conflicts go unresolved...but it's still an interesting film with much to admire, especially the the cinematography and music score. Worth a look.

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.