The Squaw Man

This is the worst film that DeMille ever made ( at least those that I saw). It is boring, and simply does not work as a Western ( the Coca Cola placement came to mind). Perhaps if the scenes in England were cut and more Lupe Velez were shown I would like it better? Speaking of Lupe although she played an Indian (Naturich), she looks more gypsy then anything else, but she was much better then anyone else. Especially Warner Baxter who was better as a Mexican ( In Old Arizona) then an Englishman in this movie ( sort off like William Powell in 'The Key' does not work). Although I am no fan of this movie, it is worth watching because of Lupe Velez and because all three of his ( DeMille) movies at MGM ( Dynamite and Madam Satan are the others) are rarely shown.3 of 10 stars.

Lupe Vélez proves that a Mexican playing a Native American of the United States isn't necessarily any less insulting than a white American taking the part. Here, Vélez doesn't even dress the part--wearing traditional Mexican clothes. To a degree, I would overlook the racism inherit in "The Squaw Man" melodrama--cloaked in the selling point of miscegenation--if there were anything more to the picture. Cecil B. DeMille was shot at while making the 1914 version of the hackneyed stage soap opera, and this time he lost his job. If anyone finds the 1918 version, I'll pass. Why did DeMille bother? In 1914, he was learning the craft; by 1931, he was a competent filmmaker, who had since surrendered his ambitions for artistic innovation in favor of lowbrow commercialism. I suppose, then, that it made sense for DeMille to try a talkie remake of his first box-office success. The plot is slightly more coherent this outing, but remains very contrived. The acting and dialogue are atrocious.

(There's also a scene where Vélez undresses.)

An English aristocrat becomes 'THE SQUAW MAN' after leaving Britain under mysterious circumstances and marrying an Indian maiden in the American West.

At the end of the Silent Era, famed director Cecil B. DeMille signed a deal with MGM to produce three pictures over three years. For the first two--DYNAMITE (1929) and MADAM Satan (1930)--he pulled out all the stops to present lavish photoplays of New York high society, with a mine cave-in and a dirigible disaster to liven things up.

For his third film at MGM DeMille returned to his favorite story, which he'd already filmed twice before as a silent. For this talkie version he kept the story simple, without special effects or unnecessary melodrama. He also made outstanding use of filming on location in Arizona. The result is a well-made film with a poignant storyline and an emotionally gripping conclusion.

While Warner Baxter's American accent makes him rather unbelievable as an Englishman, this can be easily overlooked because of his fine performance. Steadfast & strong, he makes a sturdy hero. But acting honors go to Lupe Velez, who strips away all unnecessary technique & mannerisms to deliver an uncomplicated, heartbreaking portrayal of a primitive woman wholly devoted to the man she adores and their son. Without even trying, she completely dominates the film.

The rest of the cast also make their mark in much smaller roles: beautiful Eleanor Boardman as the titled Englishwoman Baxter loves; owlish Roland Young as Baxter's best friend; shifty Paul Cavanagh as the feckless Earl of Kerhill; and Julia Faye as a fox hunting American widow.

Out West, the cast includes angry Charles Bickford as a murderous rancher intent on grabbing Buzzards Pass from Baxter; bullying DeWitt Jennings as the corrupt sheriff of Maverick; J. Farrell MacDonald as Baxter's loyal ranch hand; and little Dickie Moore, one of the OUR GANG kids, as the lively son of Baxter & Velez. Wizened old Luke Cosgrave gives a few humorous moments as the cantankerous driver of a desert jalopy.

DeMille's sojourn at MGM was not a commercial success for the Studio. His contract wasn't extended and he returned to Paramount, where he would soon commence on some of the most popular films of his career.

The Squaw Man (1931)

** 1/2 (out of 4)

This here was Cecil B. DeMille's third attempt at telling Edwin Milton Royle's play. This time out it's Warner Baxter who plays Jim Carston, a British man who is ran out of his country so he heads to the United States and out West. Once there he crosses a rival landowner but things take a turn for the worse when he falls in love with an Indian woman (Lupe Velez), which is a big no-no. This version from DeMille offers up a terrific cast and I think the racial issues are a lot more out front here but I really can't say that this was any sort of improvement over the 1914 version, which I've seen. All but the last reel is lost from the 1918 version so it's impossible to compare all three but this third version features quite a few problems. I think the film's biggest problem is the pacing because at times it moves along at a very slow pace. This includes the early stuff in Britain, which could have been completely left out and I think it would have helped. I also thought some of the stuff in the West dragged during spots but there's no question that the film is still worth viewing for the performances alone. Baxter was extremely good and believable in his part and there's certainly no doubt that he fit the tough guy role just fine. Charles Bickford is excellent as always and we get nice support from Roland Young, Paul Cavanagh and a young Dickie Moore. Velez easily steals the show as she's terrific in each scene she's in. Her beauty is on full display and while I'm sure some might be offended by the way the Indian is played, I thought the performance itself was very good. DeMille delivers a decent picture but at the same time one can't help but wish he had left this alone and attempted something else.

... courtesy of MGM. Warner Baxter stars as English gentleman Jim Wingate. He's in love with Lady Diana Kerhill (Eleanor Boardman), only Diana is the wife of Jim's cousin Henry (Paul Cavanaugh). When Henry steals some pensioner funds, and the theft is discovered, Jim gets the blame. Instead of clearing his name, he heads to the US, where he changes his name and becomes a cattle rancher out West. His problems are just beginning though, as fiendish rival rancher Cash Hawkins (Charles Bickford) wants Jim's land, and local native girl Naturich (Lupe Velez) falls in love with Jim. Will Jim return her affection and risk being called a "squaw man" by the other townsfolk?

I'm not sure why DeMille was so enamored of this story, but the audiences of the day apparently weren't, as this proved to be a costly failure at the box office. Baxter, with his pencil mustache and greasy hair, doesn't sound or act British, nor does he seem to fit in the Western setting. Velez, as pretty as ever, and getting a titillating scene where she undresses before an embarrassed Baxter, also has professional-grade movie makeup in most scenes, which is not quite the look of a poor native woman. Most of the film isn't actively awful, really, just unexceptional.

It was three and out for DeMille at MGM - the experimental sound film Dynamite, the bizarre precode musical Madam Satan, and finally back to basics with The Squaw Man. Fired from MGM, he took a cruise to decide what to do next, and went back home to Paramount for the rest of his career. He had started out there, and except for his brief stint as an independent filmmaker and then as a director at MGM, it really was his cinematic home.