Blowing Wild

Gary Cooper is looking for work somewhere in South America when he meets an old friend with a succesful oil-digging company. His wife, however, is an old love from Cooper and the tension can only lead to bad things. On top of it all, the country suffers from bandits who destroy and rob all material. The story has a negative undertone about the failure Americans have when trying to make it big outside their motherland just like The Treasure of the Sierra Madre with Bogart. The characters are well thought-out and all of them have a solid background. Gary Cooper's character has a past he'd rather forget and it made me think about his character in High Noon. Unfortunately the movie seems to be made in a rush, but due to the story, drama and character studies I give this a 7 out of 10! And for me that's rather a lot!

In a hypothetical country in South America, Jeff Dawson (Gary Cooper) and his partner Dutch Peterson (Ward Bond) have invested all their savings in a lease contract to explore oil. However, their expectation ruins when bandits blow the derrick of the oil well with dynamite and they get stranded in the town without any money. In despair, they accept the risky transportation of nitroglycerin to raise US$ 800.00 and Dutch is shot in the leg by road thieves; but Jeff discovers that their employer is a trickster and they area not paid for their job. When their former friend Paco Conway (Anthony Quinn) meets them, Jeff finds that he is a local tycoon and is married with Marina Conway (Barbara Stanwyck), who had a past with him. Paco hires Jeff his foreman to help him with his eighteen oil wells while Dutch is recovering in the hospital. Meanwhile the criminals press Paco to pay US$ 50,000.00 otherwise they will blow his wells and Marina revives her love and desire for Jeff, leading the trio to a tragedy.

"Blowing Wild" is a reasonable film with a magnificent cast. The writer is visibly inspired in "The Treasure of the Sierra Madre" and "Le Salaire de la Peur" and combines with elements of film-noir, with Barbara Stanwyck performing a "femme fatale". The idea of a hypothetical South American country is silly and dull. In the end, "Blowing Wild" is an entertaining little flick that wastes the huge potential of a dream cast. My vote is six.

Title (Brazil): "Sangue da Terra" ("Blood of the Earth")

This is a far cry from the two undisputed classics which had paired Gary Cooper and Barbara Stanwyck twelve years earlier and Hugo Fregonese is not in the same league as Messrs. Capra and Hawks whilst Philip Yordan's script is way below his best.

The old chemistry between Cooper and Stanwyck is still there of course and as a bonus we have the strong presence of Anthony Quinn, one of Cinema's genuine characters who worked very hard to develop and improve his craft whilst Ruth Roman's subtle sensuality offers a much needed contrast to the film's machismo and Miss Stanwyck's passionate intensity.

The film benefits from Dimitri Tiomkin's score, the cinematography of Sidney Hickox and most particularly its momentum for which editor Alan Crosland merits a special mention. In effect this opus represents a prime example of talented, professional artistes rising above their material.

Director Hugo Fregonese, argentine-born but active in Hollywood and Europe after 1950, never impressed me. In BLOWING WILD he has the benefit of a superior cast - Gary Cooper, fresh from winning his second Best Actor Oscar the previous year with HIGH NOON; Antony Quinn, whose role in VIVA ZAPATA had won him the Best Supporting Actor Oscar only months before BLOWING WILD came out; Barbara Stanwyck, who never won an Academy award but came close several times; Ward Bord, a most dependable character actor; and Ruth Roman, a beauty who had come to notice in Hitchcock's STRANGERS ON A TRAIN two years earlier.

Unfortunately, BLOWING WILD begins by paying homage to the first minutes of TREASURE OF SIERRA MADRE, with two hardup Americans stranded in a Mexican town begging another American (who even wears a white suit, like John Huston in TREASURE) for meal money, and it carries on with a blatant ripoff of the nitro-carrying shenanigans of WAGES OF FEAR (LE SALAIRE DE LA PEUR, 1953).

As tough as that situation is, it gets tougher when the American fails to pay them, and has a lot of other creditors on his back. It becomes even more problematic when aging but still handsome Cooper catches Ruth's eye, and meets up with former partner Quinn, now a very rich 18-oil well owner who has married... you guessed it, Barbara, who feels nothing but contempt for Quinn and has never stopped loving former flame Cooper.

It's a small world and one about to explode with the active participation of banditos demanding large sums to leave the wells undamaged. Sadly, the action sequences show the Mexican outlaws just using their bodies to stop bullets but do not lose sight of venomous Barbara...

Pity that Fregonese could not make more of a hollow script trying to stay alive with the ideas of other recently made films, and even more that he could not draw better acting from such a star-laden cast. 6/10.

Shotgun-toting, dynamite-wielding banditos in South America shake down local oil-drillers for cash; they run strapped American Gary Cooper out of business, forcing him into partnership with an old friend whose oil-site is doing well--but whose steely-eyed wife is a real wild-card. Surprisingly cheapjack production featuring three top stars (Cooper, Barbara Stanwyck, and Anthony Quinn), all of whom acquit themselves well with a script which seems half-finished. Ruth Roman is a con-artist who runs into Cooper a few times--and before you know it, she's declaring she loves him. Stanwyck puts forth a lot of heat, and gets us to believe in the tempestuous marriage she shares with Quinn, but there's little motivation for what comes next. The finale, which should have been as emotionally explosive as the effects, plays curiously flat, and there's no reasoning for why the bandits are so extreme in their destruction, nor why they choose the opportunities to strike when they do. From a narrative standpoint, the picture is a mess; however, it is quickly-paced, torrid in spots, and is frequently entertaining in spite of its flaws. **1/2 from ****