Mar de hierba

The Sea Of Grass is slow moving and talky, but not as bad as many have portrayed it. If I told you without cluing you in on the title I had a top-production 1947 MGM picture staring Spencer Tracy, Katharine Hepburn, and Melvyn Douglas, you would be expecting a glossy white telephone movie with a love triangle and lots of high melodrama from the three stars. That's essentially what you get here, only replace the white telephones with elk antler hat racks, the swank park avenue apartments with rambling ranch houses, and the busy New York street scenes with a dusty, one-horse, Nineteenth Century New Mexico town. The Sea Of Grass is a soap opera dressed up as a Western. If that is what you are expecting, instead of a traditional shoot-'em-up, you may be much more pleased with it.

The three stars deliver their usual stellar performances and three fine, textured character studies. Old, smoothie Douglas is particularly effective as a hard-edged attorney and later judge, cattle baron Tracy's stalwart opponent and Katherine's illicit lover, father of her second child. The large supporting cast shines, led by Edgar Buchanan and Harry Carry. Over rated Robert Walker is over-the-top as usual, but fun to watch. Production values are superb with terrific luminous, old nitrate black and white cinematography typical of the era, a rich Herbert Stodhart score, good, authentic costumes, great sets with some spectacular location scenery dovetailed in for long shots of Southwest grasslands and cliffs. Principally concentrating on relationships, the story moves along at a glacial pace, but the stars and an intelligent, if messy, script hold interest. Some of the dialog is a little preachy and overblown, but it is generally believable and satisfying. There is hardly any action until the last reels, and even then it is half-hearted and ultimately just peters out. The major subplot is the traditional Western theme of cattlemen versus homesteaders, but the eventual showdown comes early and is anti-climatic. Nevertheless, the movie is engrossing and enjoyable for the acting and the production values. It is refreshing to see a movie about the Old West that concentrates on decent real people and their real life problems instead of just dwelling on brawls between lowlifes who hang out in brothels and saloons.

The Sea Of Grass is not bad, but not as good as it should have been with all it had going for it. Director Elia Kazan reportedly said he was ashamed of the picture, and he should have been. The overly slow pacing, lack of spark between Tracy and Hepburn (they were off-screen lovers!) , and other problems clearly resulted from his flabby direction. With three top stars at the peaks of their careers, an intriguing story, and a big budget, The Sea Of Grass should have been a much better picture. And it would have been if Raoul Walsh had directed it.

This movie is tough to love. Partly this is due to the setting of the film (nothing but grasslands as far as the eyes can see), but most of it is because the two main characters are so flawed and unlikable. In some ways this unlikability is good, as too often Hollywood films of the 30s and 40s present people in a "black/white" fashion and people who fall somewhere towards the middle are seldom seen. However, such "gray" characters are tough to bond with or care about, so I can understand why the film makers generally avoided this. Katherine Hepburn seems like a good character through much of the film, but midway through it, she shows a self-centeredness that make it tough to really see the tragedy in her life. Her initially living with the cruel and lawless Tracy is unforgivable, but her having an affair and then leaving her kids (one the bastard) with Tracy and not seeing them for almost 20 years make her very, very tough to like. Tracy, on the other hand, does stay to care for his kids--but in a very self-serving fashion. He is an emotionally constricted and yet over-indulgent father. As a human being, he's a lot worse--killing or nearly killing farmers because he saw the plains as his own personal property. The central message that eventually these farmers contributed to the destruction of the plains is lost--Tracy's not fighting against the farmers due to any love of nature or a desire to preserve the land. No, he's just a greedy rancher that will do ANYTHING to keep the land without fences.

Despite the problems with the characters, the film is exquisitely filmed--with some of the more beautiful camera shots I've seen in a long time. This film is worth seeing, but not one I would recommend you rush to see.

In this rather talky piece set on America's frontier , a St. Louis woman (Katharine Hepburn) marries a New Mexico cattle baron , Col. James B. 'Jim' Brewton (Spencer Tracy) who is seen as a tyrant by the townsfolks . This western starts with St. Louis resident Lutie Cameron (Katharine Hepburn) marrying New Mexico cattleman after a brief courtship . When she arrives in "Salt Fork" she meets her recent husband and she learns that results to be an ambitious magnate owner who exects force to keep homesteaders off the government owned land he uses for grazing his cattle , the so-called Sea of Grass . Then Lutie, rebelling against the tyranny of his hubby . As she finds herself torn between her children (once grown-ups : Robert Walker , Phyllis Thaxter) and husband. Spencer Tracy Cattle baron . . ruthless, rugged! Katharine Hepburn. Fiery . . . Fascinating gal from St. Louis! Robert Walker. Gun-shooting and gambling fool! Melvyn Douglas. He knew women! Soft words, Soft looks! .It takes only one indiscretion to fill a woman's life with adventure, danger and heartache! . Big As Its Stars!

This "MGM" stirring drama Western with plenty of lyric images deals with victory of civilization and defeat of feudal spirit represented by a proud land baron who is deemed by the locals to be a tyrant .However , being more a soap opera drama than a typycal Hollywood Western . It contains some impressive and spectacular scenes on the raid with lots of riders towards homesteaders wagon train and cavalry arrival , though using some rear-screen projections and vast stock of process footage , especially when Spencer Tracy is riding on horseback .The picture is full of largest-of-life characters with awesome interpretations from the nice cast . Pandro S Berman's lusty effort that bears a certain resemblence to epic Western : King Vidor's Duel in the Sun (1946) a classic film of the 40s and over-budgeted movie in almost 5 million . The Sea of Grass (1947) starred by the great Katharine Hepburn-Spencer Tracy team has the performance acting honours whisked from under its nose in this enjoyable drama and the guilty is the early deceased actor Robert Walker . Sensational main cast as Spencer Tracy playing the stubborn cattleman at his best , and Katharine Hepburn as the obstinate wife who has difficulty reconciling her husband's beliefs and passions with her own . All of whom backed by magnificent secondary cast , such as : Melvyn Douglas as the suitor who falls for Lutie/Hepburn , Robert Walker as rebellious and violent son , Phyllis Thaxter as the good daughter , Harry Carey is effective as a friendly doctor , Robert Amstrong of King Kong , Morris Ankrum as a honest solicitor , Edgar Buchanan , James Bell , Ruth Nelson , Robert Barrat , Russell Hicks , Trevor Bardette , among others .

It displays a moving and emotive musical score by composer Herbert Stothart . As well as atmospheric and adequate cinematography in black and white by Harry Stradling Sr , shot on location in the Great Plains. Elia Kazan directs with his customary force , though overtalking and packing some flaws and shortcomings , getting big success at box office . In fact , this was the most profitable of all the Spencer Tracy-Katharine Hepburn films . The stunning director Elia Kazan made notorious and successful films . As ¨Pinky¨ (1949) , was one of the first films in mainstream Hollywood to address racial prejudice against black people. ¨A streetcar named Desire¨ (1951), an adaptation of the stage play which he had also directed , received 12 Oscar nominations, winning four, and was Marlon Brando's breakthrough role. In 1954, he directed his biggest hit : ¨On the waterfront¨ (1954), a film about union corruption on the New York harbor waterfront. In 1955, he directed ¨John Steinbeck's East of Eden¨ (1955) , which introduced James Dean to movie audiences.

The Sea of Grass (1947) rating : 6/10 . Acceptable and passable but inferior than other Elia Kazan films.

"The Sea of Grass" showed up on cable recently and out of curiosity, we watched it, based on the great director at the helm, and the cast involved in it. Unfortunately, Elia Kazan wasn't up to the task of directing the Conrad Richter novel about the post pioneering days. In fact, this film sort of falls flat as neither Mr. Kazan, or its stars, show any semblance they were much interested in the project.

One would imagine that to bring together Spencer Tracy and Katherine Hepburn to play the leading roles would inspire the rest of the cast, but alas, it wasn't meant to be. The film is, by no means, a total failure, on the contrary, but there are no sparks in it to keep the viewer interested.

As someone remarked in this forum, we don't get anything from the Colonel and Lutie in the way of love, from the start. For the romance they were living on the sly, the stars don't light up for the camera to give us a hint they are in love in real life. The only one that shows any spunk is Melvin Douglas, who as Brock, can't hide his love for Lutie. The supporting cast is good, with some excellent minor performances by Phyllis Thaxter, Edgar Buchanan, Ruth Nelson, James Bell, and the rest.

Watch "The Sea of Grass" if there's nothing better playing at the same time.

Hepburn and Tracy are woefully miscast in this ennui-inducing bore that is easily the worst of their films -- well, perhaps tied with Keeper of the Flame. The sexual tension, the battle of the sexes, that was the hallmark of their best efforts -- which were the comedies, not the dramas -- is entirely absent here. Hepburn seems uncomfortable as the naive nineteenth-century marked woman who bears her "shame" stoically and alone. Tracy, whose brilliant underplaying made him one of the masters of his craft, sleepwalks through this thing -- with the exception of the scene where his friend Doc, with his dying words, makes Tracy realize what his rigidity has cost him. The great team and their talented supporting cast are cruelly wasted in this dreary soap/horse opera.