La ruée sanglante

Spanish American War Veteran John Wayne hitches a ride on oil magnate Albert Dekker's private railroad car just as he's putting the moves on traveling school teacher Martha Scott. That sets off a rivalry between them both professional and personal as Wayne gets under Dekker's skin.

Dekker's the big kahuna in Oklahoma territory which would soon be admitted under President Theodore Roosevelt to the union. He's crowding a lot of the small operators out of the field and they see in Wayne a leader and savior.

Later on when Wayne and Dekker compete with the rival proposals for leasing Indian oil lands they go to the White House where Dekker thinks he's got an inside track with the Interior Department. This leads to one of the three best scenes in the film. It turns out that the Duke served in the Rough Riders. The reunion of Wayne and Sidney Blackmer as Theodore Roosevelt is pretty good, who'd have thought Wayne would have had the ultimate inside track.

Dale Evans is in the film, she has a brief role as a saloon entertainer and sings a couple of period songs. She had not yet met her future husband Roy Rogers on the Republic lot, but in fact she was more the westerner than he in real life. He was from a rural Ohio town and she was from Uvalde, Texas. Dale also sang with Anson Weeks band before coming west both literally and figuratively.

Martha Scott is a good crinolined heroine wooed by both Wayne and Dekker. You will also see Grant Withers in one of his few roles in which he wasn't a villain.

Second best scene in the film, John Wayne emptying his pistol into Paul Fix who played one of Dekker's henchmen who actually goes a bit too far because of his personal hatred for Wayne.

Third best scene, the climatic rush to deliver oil by covered wagons and tankers when Dekker buys the pipeline to fulfill the contract. The normally parsimonious Republic studio and its boss Herbert J. Yates broke the piggy bank to stage this one in what was obviously their big budget film of the year. Still plays quite well today.

This is one of John Wayne's better films of the forties. He's given good production values in this western and a perfect role for him. Fans of the eternal Duke should not miss this one.

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.

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.

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 was Republic's most successful picture of 1943, offering solid if unspectacular entertainment.

It is a somewhat unusual western, being set in the early 20th century and featuring an antagonist (played by Albert Dekker) who is a ruthless businessman rather than the conventional evil villain. Dekker represents modernity and Wayne, of course, the more traditional hard moral man.

The two male leads compete for the heart of a romance writer played by Martha Scott, and for the oil rights of the Indian territory, with Wayne representing a much less predatory way of doing business.

Add some humor and lively action scenes and you get a quite enjoyable product, if a bit formulaic.