A Union ex-officer plans to sell up to Anchor Ranch and move east with his fiancee, but the low price offered by Anchor's crippled owner and the outfit's bully-boy tactics make him think ... See full summary »
Edward G. Robinson
Helen Ferguson, pregnant, penniless and dumped by her boyfriend Steve Morley, takes the identity of the pregnant Patrice Harkness, when she and her husband are killed in a train crash. The ... See full summary »
In a hypothetical country in South America, Jeff Dawson and his partner Dutch Peterson have invested all their savings in a lease contract to explore oil. However, their expectation ruins ... See full summary »
One of the last bills signed by President Lincoln authorizes pushing the Union Pacific Railroad across the wilderness to California. But financial opportunist Asa Barrows hopes to profit ... See full summary »
Cecil B. DeMille
Millicent Hopkins, while touring with a dancing troupe in 1892, meets Clive Loring who is campaigning in the English Midlands for Parliament. They fall in love and Millie remains behind at ... See full summary »
"Wicked" Lily Bishop joins a wagon train to California, led by Michael Fabian and Johnnny Trumbo, but news of the Gold Rush scatters the train. When Johnny and Michael finally arrive, Lily is rich from her saloon and storekeeper (former slaver) Pharaoh Coffin is bleeding the miners dry. But worse troubles are ahead: California is inching toward statehood, and certain people want to make it their private empire. Written by
Rod Crawford <email@example.com>
"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on January 30, 1950 with Ray Milland reprising his film role. See more »
A number of the pistols used by characters appear to be cartridge revolvers, rather than cap-and-ball. See more »
You may think you're pretty high and mighty, Trumbo. But let me tell you this... if I live long enough, and I will, I'm going to pull you down off that fancy horse of yours and shove your face in the muck - so help me!
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This film tries so hard to be a sprawling epic, and it ends up just sprawling. The hero barely registers as a blip on the radar, Barbara Stanwyck turns in a bad impression of a heterosexual heroine, the villain is a cardboard stereotype, and Barry Fitzgerald's character is too saintly to be believable with this thankless script. This western even features a stand-in horse: a photo mounted on cardboard (in one of the first scenes). It never really gets much better than that.
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