La caravane vers l'Ouest

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!(***)

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.

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.

Good accuracy on most of the equipment and clothing. The leading characters' make-up was almost clown-like and over-acting was running rampant, but that was the norm of the time and cannot really be criticized. What cannot be excused is the pathetically weak and insipid story line.

Jim Bridger's only surviving child, Virginia K. Bridger Wachsman Hahn, reacted violently after viewing Tully Marshall's portrayal of her father in the then newly-released `The Covered Wagon' in 1923. She instituted a $1,000,000 libel action against the Famous Players-Lasky Corporation, charging that they wrongfully depicted her father as a drunkard and a man of questionable morals, defaming his character and casting a stain upon her birth.

Judge Albert L. Reeves, of the federal court at Kansas City, sustained a demurrer filed by the defendants on the grounds no one could recover damages for defamation of the character of an ancestor, setting the precendent for Hollywood's dismal record of accuracy in its portrayal of historic personages.

But unfortunately not wide known because belonging to the silent era. This western could be compared to CIMARRON, both versions, Wesley Ruggles and Anthony Mann, about the depiction of conquest of the West. The true, genuine story of America. It is a western that you can't miss, if you are a western lover, and not only. It is awesome, brilliant, riveting, splendidly made, with great spectacular sequences, such as the unavoidable indian attack which is really spectacular, especially for this period. The copy I watched was awesome in quality. It is available on you tube, so don't miss this opportunity to see this western made jawdropping on locations.