Fúria no Alaska

This is a great movie. Funny and entertaining.

Each of the characters could fill up a movie by themselves. Ernie Kovaks steals the show as the ultimate cheat and chiseler. John Wayne knows he is doing a parody of himself, plays it to the hilt and pulls it off brilliantly. Capucine is a classy lady. Even though she works in a bordello, you somehow know she's a nice girl. Even Clancy the shaggy dog has a great role. Johnny Horton's title hit, North to Alaska, is his best song ever. Classic cowboy movie fight scenes at the beginning and end.

A total hoot.

Out of 20th Century Fox, North to Alaska is directed by Henry Hathaway (& uncredited input from John Wayne) and stars John Wayne, Stewart Granger, Ernie Kovacs, Fabian & Capucine. The film script is based on the play Birthday Gift by Ladislas Fodor, and it's a CinemaScope/Deluxe Color production with Leon Shamroy's cinematography mainly on location at Point Mugu in California. Lionel Newman scores the music and the film also features a hit song of the same name song by Johnny Horton.

The plot sees George Pratt (Granger) & Sam McCord (Wayne) strike gold in Alaska. Nicely set up, George sends Sam to Seattle to bring back his fiancée. However, upon finding the girl, Sam learns that she has married another man and Sam makes the decision to bring back a pretty working girl called Angel (Capucine) as a substitute. Trouble is, is that Angel misunderstands and thinks Sam wants her for himself and begins to fall in love with him. Things are further complicated back in Nome when con man Frankie Canon (Ernie Kovacs) tries to steal their claim. Not only that but Angel has to contend with George's mood swings and the puppy dog like attentions of George's younger brother, Billy (Fabian).

It often gets forgotten just what a good comedy actor John Wayne was. His icon status, and the genre he's most famous for, tends to keep his comedy pieces from being discovered by the casual movie fan. Which is a shame because with films like Donovan's Reef, McLintock! and this here Hathaway treasure, there's enough fun and adventure to blow away the blues. The story in truth is nothing to write home about, it's a standard love triangle piece surrounded by gold rush conning and conniving. While teenage singer Fabian is out of his depth as his hyperactive hormone act quickly loses impetus. Also problematic is that Capucine, though regally pretty, gives a one note and lacklustre performance that needs Wayne & Granger to offset it in the scenes they share with her. And yet the film still works incredibly well as a romantic comedy adventure.

There's as many fists thrown here as there is in a championship boxing bout, with three hilariously staged free for all punch ups within the movie. The chemistry between Wayne & Granger is spot on as they do macho in a comedy stylie, and Kovacs revels in being the moustache twirling con man. Hathaway (stepping in when Richard Fleischer bailed out of the project) was a dab hand at action scenes, with a rolling wagon cart-come-shoot out-punch up sequence as rip roaring as it is funny. Hell! even the animals get in on the act, be it a shaggy loyal dog or head butting goats, they too are filling out the comedy.

There's also a lot of beauty on offer as Shamroy (Cleopatra/Leave Her to Heaven/The Black Swan) turns parts of California into Nome, Alaska. The scenes set around the twin cabin site of Sam & George are filmed at Hot Creek near Mammoth Mountain are simply gorgeous, while Mt. Morrison, a magnificent piece of nature, is featured in the background of many shots. Dorothy Spencer's editing is tight and on the money and Newman's score is brisk and bouncy. This is a far from flawless picture for sure, but what flaws are here are easily forgiven if the viewer is in the right spirit to take the film as it should and was meant to be taken. 8/10

The story is rather minimal, also there is little substance to the characters. However, I can overlook these in a way, but this was entertaining and was never meant to be complex and all that. It has beautiful cinematography and scenery. It has great music and a truly terrific title song. It has a sparkling script. It has skilled direction. It goes along at a decent pace. It has two fun performances from John Wayne and underrated Stewart Granger. And North to Alaska has one of the wildest and wackiest bar-room brawls I have seen in any movie. Overall, I liked North to Alaska, it was entertaining. 8/10 Bethany Cox

Hathaway's genial directing style, with its frequently rich mise-en-scene, seemed to suit Wayne's later career, and some of the films which resulted remain firm favourites today. Before the overrated True Grit (1969) and the underrated Sons of Katie Elder (1965) came this typically rumbustious piece. Wayne's first real foray into self-mocking comedy, North to Alaska is not as broad humoured as McLagen's McLintock! (1963) but still suffers from a degree of sexism which some modern viewers may find annoying, others just ironic. It is redeemed by being a very good natured film with a strong set of performances by the central cast, as well as some handsome production values.

It's interesting that the film opens as the all-important ‘strike', at least in a conventional sense, has already happened. Despite the future depredations of Frankie Canon (a well-cast Ernie Kovacs), Sam (Wayne) and George (Granger) will continue to enjoy their new-found wealth. Sam in particular seems to be perpetually well heeled, with a thick wad of the folding stuff always to hand. These two prospectors are now concerned with a second, more pressing ‘mother lode' - this time of the heart. The film is less about rich seams of ore than the veins of romance, with Sam, George and Billy (Fabian) each doing their own emotional ‘prospecting'. When Sam heads South to recover George's fiance, it turns out that he is being just as adventurous as leading a pack

Hathaway was brought into the project after Richard Fleischer's departure, and the finished result shows an interesting balance between the veteran's predictably sure touch as well as the improvisational nature of some of the filming. Wayne apparently thought of the film as being little more than a contractual affair, and the great success of the finished product was presumably a surprise. While some modern viewers may balk at the comedic sound effects added during the two big fight scenes, more reminiscent of Tom and Jerry than a Western, arguably Wayne's great ‘jealousy scene' is one of the greatest sustained moments of comedy in the actor's career. It seems likely that Hathaway recognised this during filming, as he dwells upon this enjoyable moment (George pretending to make out with Angel in the Honeymoon Hut while Sam fumes across the water) as long as possible, giving the scene amplification and timing which would have been impossible to write into a script.

Being respectively indifferent, enthusiastic, and besotted, in their own ways Sam, George and Billy each represent varying attitudes to women and romance. It's their continuing education in such matters that's at the heart of the film, and provides the principal interest. Far more so than the claim-jumping plot which, while it provides some dramatic excitement and degree of suspense, is actually of little consequence. (It provides an useful parallel, though, when George assumes that Sam has usurped his ‘claim' on his newly arrived fiance's affections.). Sam's change of heart is fittingly the most momentous - moving from the cynical "(The) wonderful thing about Alaska is that matrimony hasn't hit up here yet." to the grudging public announcement "I love you!" to Angel, and the wedding bells that surely follow. Billy's romantic naivite also undergoes a transformation of sorts, as he experiences his first strong crush then gentle, inevitable rejection. By the end he has to reconcile the ‘loss' of Angel with Sam's obvious happiness. George's radical transformation of outlook (despite his slightly underwritten role), in which he journeys from starry-eyed fiance, via outraged suitor to gleeful romantic conspirator, while demanded by the story, is far fetched in dramatic terms. Would a man really be that fickle, and then that forgiving, in such a short length of time?. One wishes that the script had allowed us to see more of his earlier anguish, perhaps while Sam was absent fetching his longed-for fiance home.

North to Alaska is divided into two halves, covering respectively Sam's sojurn down south, then his return to Nome, Angel in tow. The broad comedy of romantic embarrassment so characteristic of the film is contained in the second half. That this is the most enjoyable part is no coincidence. Removed from his eager beaver partner, and with an absence of any cutting-back to Alaska during these scenes, while Wayne and Cappucine work well as an acting couple, their characters Sam and Angel need more context than they get to be effective dramatically. Angel's initial rejection at the social by the lake, then her response, does suggest the self possession of her character, which acquires a calm strength of its own. Its an explicit dignity, rarely accorded the Western whore, (a memorable example, albeit posthumous, exists in Ford's The Sun Shines Bright (1953)), although there are bad girls enough in the genre who try to make good.

As the love-puppyish Billy supporting the Duke, Fabian instantly recalls Ricky Nelson in Rio Bravo (1959) as ‘Colorado'. An obvious sop to the emerging younger audience, such a character can sit uneasily with the elder statesmen in a genre where a man's world, for the time being anyway, was that of mature men. Recognising this in Rio Bravo, Chance (Wayne) goes out of his way to praise and assimilate the youth into his world. A year on, as North to Alaska proceeds, Billy is less assured as a character, thus easily dismissed by an overriding Wayne/Sam. The youngster is clearly out of his depth in the love-making contest - just as (one is tempted to add) Fabian the actor is sandwiched unsatisfactorily on screen, between a larger than life Wayne and the experienced Stewart Granger. Extracting what pathos there is from his one note character, especially in the long cabin dining scene with Angel, he manages a final, if understated reconciliation with the idea that Sam is the victor in love.

Its apt that Hathaway's ‘Alaska' was actually much closer to Hollywood (being filmed at Point Mugu, California). Ultimately it is a warm-hearted, forgiving film which just happens to be set in a cold place. Perhaps the humanity of a rare Western with few or no deaths on screen is what sustains its popularity. Or it could be because a genial Wayne was allowed to relax into a role so successfully. Either way, it is still revived frequently on TV and has just received a DVD release.

A recent issue of Vanity Fair magazine contained a lengthy article (riddled with some annoying errors, by the way) about the exploits of legendary Hollywood agent (and producer, on occasion), Charles K. Feldman. For John Wayne he at one time obtained a three-picture deal at 20th-Century Fox that included this one, as well as "The Comancheros" and "The Barbarian and the Geisha." This comedy, set in Gold Rush Alaska, is the best of that trio, thanks to Henry Hathaway's hand at the helm, and some extremely astute casting. Stewart Granger, presumably a free agent after fulfilling his MGM contract, is credible as Wayne's partner; Ernie Kovacs, in one of his few film roles, before his untimely death, makes a thoroughly convincing cad; and Fabian, shoehorned in to lure the teenage females, is refreshingly funny in probably his best film performance. Capucine, one of Feldman's conquests, according to that same Vanity Fair article, was given the role of Michelle/'Angel' and she gave a preview of her ability to play a glamour role with an emphasis on comedy that came to full flower in 1964's "The Pink Panther," in which she skillfully matched pratfalls with Peter Sellers in his first incarnation as the immortal Inspector Clouseau.

With the great Kathleen Freeman, the always funny Mickey Shaugnessy, and Karl Swenson rounding out a cast giving full play to the script's comic aspects; Leon Shamroy lensing the proceedings with his usual professionalism; and Lionel Newman contributing an apposite score; this one, with a title song that managed a place on the Hit Parade back then, is lots of not-too-taxing fun. It's soon to be available on DVD, I notice, so its CinemaScope ratio will no doubt be restored, the only way to revisit a film made when widescreens were really wide.