L'uomo della Virginia

Directed by Victor Fleming. Starring Gary Cooper, Mary Brian, Walter Huston, Richard Arlen, Eugene Pallette, Chester Conklin, Helen Ware, E.H. Calvert, Victor Potel.

Virginia-born cowhand Cooper woos schoolmarm Brian in small Wyoming town, tangles with roughneck outlaw Huston. First talkie for both Cooper and director Fleming, adapted from the book of the same name (considered one of the first true western novels), which had already been turned into a play and a pair of silent movie versions. Cooper struggles with the accent, but cuts an upright, stoic figure even this early in his career; Huston is barely recognizable but makes the grade as an appropriately hissable black-hat. Uneven pacing in the first half, including a few obvious instances of padding (such as the baby-swapping prank), gives way to more compelling later episodes, including a harrowing resolution to a difficult decision the protagonist makes in regard to some cattle rustlers. Even in its restored format, the picture and sound quality of current prints is somewhat lacking, but the movie is still a worth a watch for anyone who enjoys old-timey oaters.

62/100

"The Virginian" is one of the first well-known western "talkies." Released in 1929 and starring Gary Cooper who later became one of the great heroes of the western genre, this movie contains all of the archetypal elements of classic western films. There is a lone hero who answers to his own moral code defined by his environment(the frontier). A "schoolmarm" from out East comes to civilize the West through education, and her values come into conflict with the hero she falls in love with. And there is a villain who abides by no moral code, who must be defeated by the hero to uphold his honor and his values.

The classic representations of good and evil through black and white are used extensively and effectively in this film. Cooper always wears white, the villain(Huston) always wears black. However, the most morally ambiguous character, Cooper's friend Steve, always wears a mixture of the colors, and as he continues down a dark path, his colors become darker and less ambivalent.

This is a pretty good movie, particularly the hanging scene, the shootout at the end, and basically any interaction between Cooper and Huston. What makes the movie even more entertaining and fascinating to watch is its context. This movie is considered to be one of the very first westerns to represent the classic elements of the western genre, and its influence on later westerns is quite clear. For film students and fans of the western genre alike, this is a fun film to watch and thoroughly enjoyable. (Note: very interesting comparisons can be made to later westerns, particularly "Shane" and another Cooper film, "High Noon")

I have to admit, the Western genre usually isn't up my alley, but this one grabbed me when I saw it as a teenager on Christmas break in 1973, and so when I saw it was for sale on DVD-R I bought a copy. My memories did not deceive me - it is still a very good Western whose technique is seemingly unencumbered by the youth of sound technology in 1929.

Some things are rather obvious Western clichés, such as the fact that the hero - The Virginian (Gary Cooper) - is always wearing a white hat and generally a light colored shirt. Trampas (Walter Huston), the villain, is always wearing a black hat and black shirt and has a kind of Yosemite Sam black mustache that is so large and cartoonish that Walter Huston is almost unrecognizable underneath it. Steve (Richard Arlen), the Virginian's friend, starts out wearing gray looking clothing. This indicates Steve is no hero but not an outright villain either - he just longs for some easy money. He wears more and more black as Trampas seduces him with the possible big scores of cattle rustling. Then there's the famous line "Smile when you say that" uttered by the Virginian to Trampas. Many people think that line originated here, but it was used in westerns before this. Among those that still exist there's 1925's "Go West" with Buster Keaton being given this command and who would comply if only his facial muscles would let him.

However, Paramount, the studio that in the early talkie era employed Lubitsch, Chevalier, and Dietrich and made so many sophisticated precodes was also capable of making one of the best of the early sound westerns. The emotions here are real - including the hanging of some rustlers, some who meet their end with courage and others who meet it with cowardice. Those hanging them are without malice - it is just something they have to do or else they'd be overrun by the lawless and starve to death.

Civilized America is symbolized by schoolmarm Molly Stark (Mary Brian), imported from Vermont to teach the pioneers' children and increasingly horrified by the savagery of the place. She just doesn't get that you can't expect some imaginary police force to come to your rescue. The romance between her and the Virginian has many parallels in "High Noon" made 23 years later.

Not to say this one is all serious though, there are plenty of laughs to be had especially in the first half of the film. Especially charming and funny is the scene where Molly and the Virginian discuss Romeo and Juliet with the Virginian giving insight into the soul of a pioneer with his interpretation of the story. Then there's Eugene Palette as a cowpoke. Palette like Cooper had been around during the silent era, but the coming of sound increased their value as performers. I'd recommend this to fans of the early talkie whether Westerns are normally of interest to you are not. This is really a good and interesting film.

Very early "talkie" western, and Gary Cooper's first sound film, the one that started him as a big star. It follows Owen Wister's classic novel of the same title, although in a more streamlined fashion. All the big moments in the book are here, but the book is a sprawling epic, and in the movie everything is more rushed, including the romance between the foreman and the schoolmarm. In general, there's much more time for character development in the book.

Here, the narrative is always direct and to the point, never losing sight of what needs to come next to get to the end. The scenes are short, in a blunt style that reminds of the silent era rather than of more modern movies, but that's part of the charm when you watch it now, almost a century after it was filmed. Nevertheless, Victor Fleming makes good use of the newfound ability to use dialogue to tell an effective story.

The quality of the prints that have reached us is not perfect, but good enough to appreciate this early western, from just when Hollywood was starting to use synchronized recorded sound.

Although I particularly like the 1946 version of this classic western story with Joel McCrea, this 1929 version of The Virginian has a lot to recommend it, not the least of which is Gary Cooper in the title role.

From the first silent version of the story that Cecil B. DeMille directed until a 2000 made for television film that starred Bill Pullman as the cowboy who's only known by the state he originally hails from, this is the story that set the standard for the western novel that has come down to this day. Owen Wister (1860-1938) was a classmate and close friend of Theodore Roosevelt and when the book came out in 1902 it was dedicated to the new president who was in his second term of office.

Both Wister and Roosevelt were easterners who had gone west at critical portions of their lives and made careful note of the mores and customs of the people living there. Roosevelt went to the Dakota territory and Wister was in the new state of Wyoming just in time to view the famous Johnson County range war. It certainly was a period where certain folks did make up their own version of the law out in Wyoming and in this Wyoming setting of The Virginian as law and order was usually days if not weeks away, lynching lawbreakers was an accepted if not honored practice.

And that's what happens in The Virginian as Gary Cooper catches old friend Steve played by Richard Arlen rustling cattle of the Box H ranch where he is foreman. It's unfortunate that he did not catch gang leader Trampas played by Walter Huston, but the incident sets the scene for the inevitable western showdown.

There was western literature before The Virginian, popularized by writers like Ned Buntline. They were called 'penny dreadfuls' as a commentary of their cost and worth. Usually they took real western characters and made up these fantastic unreal stories about them. Real western historians in fact are still trying to separate truth from myth about all these people because of these stories.

Wister was a careful chronicler of what he saw and what he saw set the standard for later writers like Zane Grey, Louis L'Amour, Luke Short, etc. All the western clichés we've grown to expect in films got their start right here.

The Virginian set the standard in literature and film for a whole genre of entertainment. Any version of the story should not be missed.