La ruée sanglante

Two women, Ethel Hill and Eleanore Griffin, share screen writing credit for Republic's western adventure film WAR OF THE WILDCATTERS (known to some as IN OLD OKLAHOMA). A modestly budgeted endeavor, the story comes to life thanks in large part to a cast that includes John Wayne, Martha Scott, Albert Dekker, Gabby Hayes and Marjorie Rambeau. Wayne, from a different school of acting than the others, rises to the occasion and matches his costars with his own unique strength and performance. In addition to the acting, the motion picture benefits from extensive on-location shooting, which lends a degree of realism. Not to be missed-- there is an impressive moment when oil is struck and a huge gusher comes in.

In imdb, it's In old oklahoma.... roku has this as war of the wildcats 1943; the opening credits show wildcats. Stars john wayne, al dekker. When school teacher catherine allen heads west to really experience life, she bumps smack into wildcat oilman jim gardner and cowboy dan somers. Of course, they both chase after her. As well as oil rights. And what kind of a western would this be without gabby hayes? And dale evans in one of her earlier roles. It's silly and fun and moves right along. Better than your average western. Not dry and dusty like so many others. Directed by albert rogell. Nominated for best music and best sound.

One of Poverty Row studio Republic's intermittent big-budget efforts, War of the Wildcats is a lively, if fairly routine, western notable for its early 20th-century setting. Wayne plays Daniel F. Somers, formerly one of Teddy Roosevelt's rough riders, who finds himself entangled in a love-and-oil battle with Albert Dekker. Wayne is fairly amiable here, representing the old west and the little man forced to adapt in the face of modern technology and the dawn of big business. Dekker, of course, represents this future. He drives one of them new-fangled auto-mobeels and is erecting oil wells just as fast as he can. He is also dismissive of the native population – he even has one, a Cherokee, scrub his back as he takes a bath – while Wayne shows them respect and receives it in return. I'm not quite sure how that stacks up today, given our knowledge that the treatment of the native American by the old west fell somewhat short of what can be considered fair.

Anyway, possibly the best aspect of this film is that Dekker's character isn't portrayed as an out-and-out villain, driven only by greed. He is smart and relatively sophisticated, and also brave. Anyone who has ever had the experience of working with or for a 'captain of industry' (for want of a better term) or a self-made man, will probably recognise oilman Gardner's characteristics exactly as those that account for the success of these people. They aren't necessarily bad people, just ruthless enough to do whatever is necessary in pursuit of their goals.

Martha Scott is a fairly bland heroine – it's difficult to see why such rugged individuals as Somers and Gardner would both be so keen to bed her. Gardner's frankness in this matter is also refreshing given the times in which this film was made. He makes no secret of what he desires from Catherine and doesn't resort to any particular underhand tactics to make his desires come true. Of course, he doesn't succeed – it would be another quarter of a century before Hollywood would allow a character like Jim Gardiner to win the girl (and the oil).

Plot-- Business tycoon Gardner wants drilling rights on Indian land and he'll use about every trick to get it. But he's up against the local little guys who've pooled their assets to get the same rights. Luckily they see in cowboy drifter Dan Somers a guy with the potential to lead them even if he doesn't see that potential himself. Plus, Dan and Gardner become rivals over the affections of winsome writer Catherine.

That climatic wagon stampede across the flat prairie still has me dizzy. Great action effect that must have employed every stuntman in Hollywood, to say nothing about every wagon. Now, if Dan (Wayne) doesn't get to the government office first, then the scheming Gardner (Dekker) gets the oil millions. Okay, so Dan's got an edge since the government man likes the ladies more than his duties. But, what great rivals Wayne and Dekker make. Each is an imposing presence, even if Wayne puts on his best "aw shucks" act, while Dekker keeps an icy calm. And I love it when they duel gimlet-eye to gimlet-eye. Still, sweet-face Martha Scott gets as much screen time as the guys, so likely Republic was trying to build her into a star. And, of course, where there's Wayne, Gabby Hayes can't be far behind, doing his unforgettable crusty old coot bit. And catch the pre-Roy Dale Evans bringing down the house with as charming a stage number as many an A-musical. No wonder Roy grabbed her.

All in all, it's a spectacular action flick, even if the romantic interludes get a little tiresome. Wayne sure shows his acting chops, more animated than I've seen him. His cowboy Dan goes from just another prairie drifter to hard-driving trail boss in really convincing fashion. And though he'd probably hate the word, he does it in what amounts to winning fashion. And catch that opening sequence in Gardner's private car. It's unusual and superbly done. Republic popped a bundle for this, and it shows up in the colorful crowd scenes (thanks to director Rogell) and big oil well gushers, along with that final stampede.

I'm not sure why this unusual oater is so obscure in the Wayne canon. But in my book it's as good entertainment as any of his many horse operas. And for fans of crashing buckboards, this is the Promised Land.

This film is also very commonly known as "War of the Wildcats". As you watch it, the movie sure looks like a B--but with just a bit more polish, a bit longer running time and a bit more in the way of budget. This is because the film is sort of like a transitional film for Wayne. While he played in a ton of Bs during the 1930s, around 1939 (with "Stagecoach") he began playing in better and better films. But many of them looked a lot like Bs and felt a lot like Bs. His bigger budget studio projects were still a few years ahead.

The film begins with a feminist author (Martha Scott) leaving her tiny town. Apparently the local prudes were angry at her writing such a scandalous romance novel--and you get the impression that it really isn't THAT bad. In fact, it really can't be because Scott is a school teacher and never really lived a worldly life in this town. So, at the urging of the women, she is determined to see the world--and be more like one of her characters. But, she is conflicted and isn't quite sure where to go or what to do. Her dull old aunt wants her to live with her in Kansas City--but when she meets a big-time oil man (Albert Dekker), he convinces her to follow him to the oil fields and promises her wealth and excitement. There are two problems with this. First, Dekker is a bit of a pig and an ego-maniac. Second, John Wayne pops into her life--and back then he was a major hunk. And, since he was the star, it's not especially surprising where it all ends. In the middle portion of the film, Wayne and Dekker vie for power and fight over oil land that the Indians are willing to lease. But Dekker is determined not to play nicely--and seems willing to use some dirty tricks to make sure he alone gets these leases.

Overall, this is not an especially deep film nor is it very realistic. However, it is fun--and that is very important. Gabby Hayes and especially Marjorie Rambeau provide some fun support and color.