Le Bagarreur du Kentucky

John Wayne plays a frontiersman, who partners up with Oliver Hardy! This seems strange at first, but they have a great rapport and act well together. Vera Ralston is the love interest, and while she's pretty, she's not a great actress and is merely passable in the role. There's lots of fighting and heroic action in this movie, and it's a way to pass an enjoyable hour or two. John is at his most charismatic here.

John Wayne's second effort as star/producer (after "Angel and the Badman", in 1947), "The Fighting Kentuckian" is a VERY enjoyable tale, set in 1818 Alabama, of coonskin-capped Wayne, part of the Kentucky militia, falling for French immigrant Vera Ralston (in her second film with Duke), and discovering a plot to swindle the French community (composed of ex-officers of Napoleon, and their families) out of their land, by aristocrat John Howard and ruthless river boss Grant Withers.

What truly makes this film 'special' for me is Wayne's sidekick, portrayed by the legendary Oliver Hardy, of 'Laurel and Hardy' fame. Hardy, while a friend of Wayne, had only worked 'solo' once in a feature film in over twenty years (1939's "Zenobia"), and it took a LOT of coaxing (and Stan Laurel's 'blessing'), to get him to accept the role...and what a pleasure he is, to watch! Wayne and Hardy have a rich, warm chemistry, and the rotund comedian, with his infectious smile and Georgia drawl, makes even minor scenes (like swapping recipes with Ralston's mother) a joy.

With a first-rate supporting cast including Philip Dorn, Hugo Haas, Wayne 'regulars' Paul Fix, Jack Pennick, and Hank Worden, and Marie Windsor (who looks eerily like John Howard, in my opinion!), "The Fighting Kentuckian" is, despite the 'pans' you'll see in some of the reviews posted, one of my favorite John Wayne films...He was never more charming than you'll find him, here!

In The Fighting Kentuckian John Wayne steps back a couple of generations on the American Frontier from where he usually has his movie roles to play a frontier soldier. He's one of the Kentucky riflemen who saw action in the Indian wars and the Battle of New Orleans with Andrew Jackson. His company is going home to Kentucky to be de-mobilized. But in a town in Alabama called Demopolis, Wayne gets a bit sidetracked by the lovely Vera Hruba Ralston.

Ralston is the daughter of Hugo Haas who plays one of Napoleon's former generals who is now leading a party of French exile settlers who have settled on land granted to them in Demopolis. The problem is that the French settlers are being set up for a big con game by a quartet of villains, Marie Windsor, Paul Fix, John Howard, and Grant Withers. Because of Wayne's growing involvement with Ralston he and sidekick Oliver Hardy get drawn into the problems of the settlers.

That's right I did say Oliver Hardy. While partner Stan Laurel was having health problems Hardy did this film with John Wayne and another, Riding High, with Bing Crosby. It's a different Ollie we see in The Fighting Kentuckian, not the know it all forever getting hoisted on his own petard by his bumbling partner Laurel. For most of the film he's a traditional sidekick to Wayne in the Gabby Hayes tradition. However there is one scene where Ollie gets to use the Duke as a substitute Stan Laurel. Wayne and Hardy sneak into a party given by Haas as musicians, fiddlers to be precise. Hardy actually plays, but Wayne is going to fake it. That is until the piece they're playing calls for a solo. As each musician does his bit, the expressions on Wayne's face are pure Stan Laurel. Ollie who was never the creative one in their partnership had to have coached Wayne on this. He does all the traditional Stan Laurel shtick, but cry. It's very funny, totally not what you would expect from John Wayne. It's the highlight of the film for me.

On the negative side the film is a bit overplotted. The quartet of villains mentioned above are all not quite working in tandem. Each one has his own agenda and it makes the film a bit hard to follow.

Still I believe the Duke's fans will enjoy a somewhat different John Wayne and Laurel and Hardy fans would appreciate Wayne's attempts at a salute to Stan. I think Ollie worked better with the Duke than he did with Harry Langdon in Zenobia.

This movie is pure Republic Pictures B-movie all the way, with relatively low production values, Vera Ralston (girlfriend of the CEO) and lots of action. And this is not necessarily a bad thing (apart from the lousy acting by Ralston), as the movie is highly entertaining. So, if you just turn off your brain and enjoy, this is a terrific film. I particularly love seeing Oliver Hardy playing a rare supporting actor role very late in his career. Is he believable? Not in the least. But, he's funny and quite the sidekick to John Wayne. The plot, such as it is, involves Wayne falling for Cajun Ralston (a Swedish actress playing a Creole woman?!) and getting into a wide variety of scraps along the way. Not much more to it than that but it is so much fun, who cares?! I can forgive all this because the film is somehow charming and memorable.

By 1949 Laurel and Hardy were all but finished (we don't talk about 'Atoll K') but Oliver Hardy, always hard up, needed to work. Hence this unique but worthwhile turn as a genial Southron in George Waggner's middling-good oater.

John Wayne-- Republic's chief asset and now his own producer-- and Vera Hruba Ralston, its boss's wife-- were co-starring in a slightly unusual western. It is set in 1819, heyday of Andrew Jackson's 'manifest destiny' expansionism. French settlers in the Deepest South, Napoleonic exiles, were slogging it out with English-speakers for the ownership of a bit of Creole country.

Wayne and Hardy, attired like Davy Crocketts, are teamed as old Kentuckian pals, veterans of the Battle of New Orleans. Now they're on the loose in Alabama and (since this was still the gallant, humorous Wayne of post-'Stagecoach' vintage) assisting French settlers against larcenous land barons such as John Howard.

Contrary to what lazy film writers maintain, 'Repulsive Pictures', as some jaded employees called it, was never a pure Poverty Row outfit. By the late 1940s it was careful to keep Wayne's market value up by attention to production values, a policy which culminated in 'The Quiet Man'. Here gleaming photography by Lee Garmes and George Antheil's score enhance the Frenchified interest of the mise en scene, and there's a surfeit of plot. (Incidentally Vera Ralston is no worse than many a Maureen O'Sullivan either, despite the cries of uxoriousness against Herbert Yates, Mr Ralston.)

Once again the factor that lifted Wayne above the Audie Murphys and Randolph Scotts is visible abundantly: the charm and grace he cannot help exhibiting, even though he'd have knocked a man down for mentioning them. The lightness and assurance he projects makes it not crazy to compare him with Cary Grant-- who was also at his most beguiling when portraying embarrassment, despite his reputation for smoothness. It has kept many of Wayne's seemingly routine pictures fresh when more pompous major productions have long since become fossilised.

Hardy's main job is to inject slapstick or advise and admonish his chum when Wayne gets too romantic, but he is involved in the mechanics of the plot too. He does so well one feels that if 'Babe' had been less fond of the golf course and in better health, he could have followed many funny men before him into a second life as a character actor.

Used to equality in a double act, Hardy works well with Big John: there's a genuine warmth between them, since unlike too many comics Ollie does not try to dominate their interchanges. Nor does he use the broader schticks of his peerless partnership: he does not mutely appeal to the audience or speak in that slow, absurdly dignified way he uses to challenge Stan's stupidities. He is given business with hats, eats too much, twiddles his incongruously delicate fingers, falls in a river as in 'Way Out West'. But it's all done lightly; Willie Paine's a bit of a clown but not a gross buffoon.

Seeing Babe slugging and being slugged is novelty enough, and there is poignancy in his last shot: marching away at the wedding, as if bidding farewell unknowingly to his Hollywood career. It's an unexpected coda, a box office success to boot, and a heartwarming one after years stuck in unworthy programmers with Stan for Darryl F Zanuck.