Au-delà du Missouri

This is one of Clark Gable's better films of the 1950s, though it never really got that much attention and many have unjustly written it off as "just another Western". However, if you watch it you'll find that the film has two major points that make it unique and a very beautiful film. First, the film is about the period BEFORE that shown in most Westerns. The typical Hollywood Western occurs between 1866-1880, though there are a few exceptions before and after. However, very few deal with life in the West circa 1829 when the only White men were fur trappers. Since I am a history teacher, I admire this about ACROSS THE WIDE MISSOURI. Second, the film humanizes the Native Americans much more than most films and there are no "black and white" groups in the film. Many of the Indians are quite decent but they also are not uniformly good either--and the same goes for the trappers. I particularly loved the relationship that developed between Clark Gable and his Indian bride. It did a lot to build sympathy for the characters and once again truly humanized both characters. The only real negative about this is that three of the key Indian roles are played by non-Indians (J. Carrol Naish, María Elena Marqués and Ricardo Montalban)--a standard practice in the time it was made.

While these two points make this a memorable film, it sure doesn't hurt that this film has some of the most vivid and beautiful scenery of any film of the 1950s. It's obvious that this wasn't filmed on some sound stage or filmed in the outskirts of Los Angeles! So overall, what's not to like about this film?! Excellent acting, a great script and a uniqueness make this a film worth seeking.

By the way, this film is highly reminiscent of the wonderful Robert Redford film, JEREMIAH JOHNSON--another film well worth your time.

When one watches western films of the latter half of the 19th century, the settlement of the west was on a course that was nothing but bad for the American Indian. As good as some westerns are, always lingering in the back of any viewer's mind is the thought that no matter what the predicament of a given hero/heroine in any film is the fact that the might and power of the United States Cavalry will ultimately tip the balance towards the white man.

But the fur trappers of the early half of that century faced a far different situation. They were few and the Indians at that point outnumbered them. These people as typified by Clark Gable and the rest of the cast in Across the Wide Missouri were the really brave ones in our history. They wanted to trap their beaver and sell their pelts and the last thing they wanted was wholesale immigration of settlers. It took a lot of nerve to live in that lonely existence, days and weeks at a time where you couldn't count on a troop of soldiers to bail you out of trouble.

I'm a big old sucker for films about the earlier west and two good ones came out at this time, this one and the following year from RKO, The Big Sky. I give the nod to this one thought because it was done in color and on location.

Gable gets one of his best post World War II parts as the sturdy Flint Mitchell, mountain man who falls big time for Indian princess Maris Elena Marques. While grandfather Jack Holt approves of a white husband for his granddaughter, the match don't sit well at all with Ricardo Montalban his successor. The climatic duel between Gable and Montalban is staged very well indeed and quite thrilling.

Playing various fur trapper roles are Alan Napier, James Whitmore, John Hodiak and most of all Adolphe Menjou. Though one normally expects the debonair Mr. Menjou in tuxedo, he's really quite good as the French Canadian trapper and sidekick to Gable.

Maria Elena Marquess got her first of two chances in Hollywood and did well as the Indian princess. She was already a name in Mexican cinema and became an even bigger star down there due to this film with Clark Gable.

This film marked the farewell performance of Jack Holt who died soon after it was completed. His career spanned all the way back to the earliest years of Hollywood. He makes a very impressive chief of the Blackfeet.

Gable was a rugged outdoors-man in real life, he liked to fish and hunt and brought his fourth wife, Lady Sylvia Ashley on location. Unfortunately Lady Sylvia was not a big fan of the great outdoors and her experiences roughing it contributed to the Gables getting unhitched.

Director William Wellman kept things going at a good clip and though Across the Wide Missouri is slightly over 75 minutes for an A film, it's still a great item and rates being an A film for its cast and its production values.

Honesty seems the first quality of this Wellmann work:it uses no less than three different languages:English,Indian language and French:it's really great fun to hear the cast sing on Xmas day the Canadian "Alouette gentille alouette" en Français dans le texte...even if the words have nothing to do with Christ's birth.

The second strong point is scenery:the landscapes are breathtakingly beautiful and the color is splendid indeed.Mountains and forest are lovingly filmed .

A lot of people will probably note similarities with Delmer Daves's famous "Broken arrow" which was released the precedent year .It's almost the same ending.I would favor Daves's work over Wellmann's because his characters are more endearing , his story more absorbing and the relationship characters/nature more convincing.But "Across the wide Missouri" is worth watching :the story is told by Gable's son who appears as a baby in the movie and shortly as a child .One scene is particularly touching,even if we realize it only afterward:Gable and his Indian wife are kissing each other while the small child is watching.There are a lot of deaths in this often cruel story,but neither the White nor the Indians are demeaned.

One of the most frustrating things in cinema is that of the interfering studio. Too many films, since cinema became the medium so massively loved by so many, have fallen victim to this most poisonous fly in the cinematic ointment. One such film to suffer greatly is the William A. Welman directed Western, Across The Wide Missouri. All the elements were in place, a fine story written by Talbot Jennings & Frank Cavett, which is worked from Bernard DeVoto's historical study of the American fur trade in the 1830s. Wellman (The Call Of The Wild/Beau Geste/Battleground) at the helm, Hollywood's golden boy Clark Gable in the lead, and a sumptuous location shoot around the San Juan Mountains to be photographed by William Mellor. With all the talk coming out of MGM that they wanted to make an "epic" picture, hopes were high for the early 1950s to have a Western classic on its hands. Enter studio boss Dore Schary who promptly cut the piece to ribbons. So much so that the film, where once it was epic, is now a choppy and episodic 78 minute experience. With a narration by Howard Keel tacked on by Schary just so we can try to make sense of what is (has) gone on. Wellman was rightly miffed and tried to get his name taken off the credits.

Amazingly, what remains is still a recommended piece of film for the discerning Western fan. The locations are just breath taking, expertly shot in Technicolor by Mellor, at times rugged and biting, at others simply looking like God's garden. This part of the world is the perfect back drop for the story as the white man's greed brings them into conflict with the Native Americans. The film also boasts an array of interesting characters, we got the Scots and the French represented alongside the usual suspects, while the tracking and fighting sequences are expertly filmed by the astute Wellman. It was a tough shoot all told as well. Ricardo Montalban {Blackfoot Indian Ironshirt} was involved in a horse riding accident, the consequence of which would severely affect him later in his life, while stunt man Fred Kennedy suffered a broken neck when his intentional fall from a horse did not go as planned. The horses too you can see really earned their oats, trekking up hill across sharp jagged rocks and ploughing through snow drifts, magnificent beasts they be. Joining Gable and Montalban in the cast are John Hodiak, James Whitmore, María Elena Marqués, Adolphe Menjou and Alan Napier. David Raskin provides a suitably at one with the atmosphere score. With Gable on form mixing with the high points that Schary left alone, Across The Wide Missouri is more than just a time filler. But the problems do exist and it's impossible not to be affected by the annoyance that comes with the old "what might have been" that gnaws away at the viewer at every other turn. 6/10

Bernard DeVoto won a Pulitzer Prize for history in 1948 for his 1947 book, "Across the Wide Missouri." Some sources say that after MGM bought the film rights, the studio threw away everything except the title. That's hardly the case, because this film does a very good job of showing life in the early days of the American Northwest. DeVoto's book, and this film are mostly about the native Indians and the white trappers known as mountain men. The latter were a breed of early pioneers that flourished in the 19th century from about 1810 to the early 1880s.

The stage was set for all of this in 1803 when the U.S. acquired the Louisiana Territory from France. The 828,000 square miles doubled the size of the young nation. The purchase brought in all the lands west that drained into the Mississippi River. But most of the lands west of the Missouri River had not yet been explored. President Thomas Jefferson got Congress to approve an expedition to explore the Northwest to the Pacific Ocean.

After the Lewis and Clark Expedition of 1804-1806, written accounts of it aroused great interest in the East. The mountain men became the first Americans of European descent to migrate to the region. They went first as trappers and explorers who made their living in the lucrative fur- trade. The mountain men peaked in numbers around 1840, at the time the largest U.S. migration began over the 2,200-mile Oregon Trail.

The mountain men helped open the emigrant trails. They explored and lived and dealt mostly at peace with the various Indian tribes. This movie shows all of this very well. MGM filmed the movie in Southwest Colorado, from Durango to Silverton. The spectacular scenery adds to the value and enjoyment of the film.

I am a history buff and during the years leading up to and through the 2004-2006 bicentennial of the Lewis and Clark Expedition, I spent most of my summer vacations traveling and visiting sites along the Lewis and Clark route. One of my guides for these trips was "The Journals of Lewis and Clark," written by Bernard DeVoto in 1953. DeVoto and Lewis and Clark give excellent accounts of the Indians of the time. This movie covers two groups that are prominent in the journals – the Blackfeet and the Nez Perce.

I wonder how familiar the playwrights might have been with the journals. Their story of the young Indian maiden in the movie is similar to that of a real person with Lewis and Clark. Here, Kamiah is of the Blackfeet tribe. She was captured and raised by the Nez Perce. In the Lewis and Clark Expedition, a young Indian wife of a French Canadian trapper, Toussaint Charbonneau, became an invaluable guide across the Indian lands of the Northwest. She was Sacagawea, a Shoshone Indian from the Snake River country of Idaho. She had been captured by the Hidatsa and taken to their village along the Missouri River in what is now North Dakota. At age 13, she was sold to Charbonneau as a wife.

This movie has a large cast of first-rate actors. Clark Gable is excellent as Flint Mitchell. Adolphe Menjou excels as Pierre. Maria Elena Marques is dazzling as Kamiah. All the actors who played major Indian parts were very good. Ricardo Montalban plays Ironshirt, John Hodiak is Brecan, J. Carrol Naish is Looking Glass, and Jack Holt is Bear Ghost. The rest of the mountain men and the supporting cast of Indians add to the historical feel and enjoyment of the film.

There was an apparent controversy that arose over this film. From the various accounts I've read, it's not even clear what it was all about. The studio head at the time apparently chopped quite a lot out of the film. Enough, that director William Wellman disowned the movie and said he would never watch it. He alluded to the best action parts being taken out. Apparently, James Whitmore, who plays a mountain man, Old Bill, had much more of a part, and most of his film time was cut out. It would be nice to see a director's cut, which probably no longer exists.

But that aside, I think this is still a first-rate film. It has action, scenery and a beautiful story told about a very interesting time and place in America's history. From that standpoint alone, it is much more valuable than the two popular mountain men pictures that were made, "Jeremiah Johnson" (1972) and "The Mountain Men" (1980).

"Across the Wide Missouri" is a film that most should enjoy. It's an excellent snapshot of a pioneer period of the American West.