Arizona

In Arizona Jean Arthur repeats her Calamity Jane character from the earlier DeMille classic, The Plainsman. She's a tough pioneer woman, one of the founders of early Tucson.

Her dream man comes by way of a wagon train in William Holden who was making his first western with this film. Originally the part was offered to Gary Cooper who turned it down. I suspect that Cooper clearly saw that Arthur had more screen time. Holden who was under dual contract to Paramount and Columbia had no choice in the matter.

But by far the best one in this film is Warren William who is the suave villain of the piece. In The Big Country, Burl Ives describes Charles Bickford as a 'high toned skunk'. That phrase so very aptly describes what Warren William is all about here.

Previous to his arrival, the local bad guy was Porter Hall. But William with guile and cunning bullies Hall into a partnership who in turn sets him up with the local Apaches. Nobody can quite prove what's going on, but Holden says William has the odor of polecat about him.

There's a nice battle scene with the Apaches before the final showdown with Holden and William. Their final battle is a combination of the shootouts from both Stagecoach and High Noon.

Paul Harvey has a nice part as the Scottish merchant who is Arthur's business partner and Edgar Buchanan does one of his patented reprobate judge parts that he would do over and over in his career.

And we even get to hear William Holden sing I Dream of Jeannie. Nothing special and it's no accident he had no career in musicals.

Arizona is still a nice film tribute to our western pioneer spirit and it's one of Warren William's best screen characters.

This is a refreshing western saga with well-defined performances of some unique characters. Adding to the overall quality, there is a strong current of authenticity in the staging, with both the gritty desert west (the scene is 1860's Tucson) and the settlers of that land making a strong showing. William Holden plays against type as an aw-shucks, boyish adventurer who is smitten with a bold, outspoken pioneer businesswoman played with gusto by Jean Arthur. Both characters have clearly-defined development arcs. While the plot is generally typical western fare, the narrative tends to bounce out of those well-worn ruts, including being mostly true to the period depicted and in the motivations of characters and groups. The video I watched was crystal-clear black & white. This is a western tale with a rich flavor.

This movie has every thing a western lover wants-shoot-out,cattle drive,Native American conflict,Calvarymen,strong leading lady character who is independent,but falls for the hero. and a hero who takes a supporting role,but grabs my attention every time he is on the screen. Different from most characters that William Holden plays, not cynical. The suspense at the end was so real; I could feel the same emotions as the character played by Jean Arthur.

Fun but overlong western with a dynamite turn by Jean Arthur as a feisty pioneer gal that's as rough and tumble as any man you'll meet. She fights corruption and villainy in the form of Porter Hall and Warren William. She also finds time for romance with handsome (and considerably younger) leading man William Holden.

Arthur's the primary reason to see this. She dominates every scene. Also some good performances from Edgar Buchanan as a drunken judge and Warren William as a slimy crook. Holden's fine but he wasn't quite ready to be an A-lister yet. The romance element is one of the weaker parts of the film. Victor Young's Oscar-nominated score is excellent. It's an enjoyable western but, like I said, it goes on too long for such a simple story.

The story line in this film is basically fictional, but real names of people who lived in Tucson, Arizona Territory, in the late nineteenth century are given to members of the cast, and the set that was created specifically for its production still exists just over the hill from the real Tucson of today. As someone who remembers visiting that set during filming in 1940, I am still impressed by the place and by this film. Jean Arthur's character was indeed a prototype of the independent frontierswoman . But even more important from the perspective of today as I stand among the remnants of the old set (still used, together with a sound stage on the property, to produce "Westerns") and look back sixty years just as the producers looked back sixty years for their story, I think of it as a story within a story. Anyone visiting Arizona today would do well to think of the film "Arizona" as a true picture of 1880 and, in another context, of 1940, and let their imaginations wander. The social attitudes and mores of both periods stand in great contrast to those of the 21st century.