Lance Poole, an Indian who won a Medal of Honor fighting at Gettysburg, returns to his tribal lands intent on peaceful cattle ranching. But white sheep farmers want his fertile grass range ... See full summary »
Robert Taylor and Eleanor Parker star as a Kentucky backwoodsman and the woman who will NOT let anything interfere with her plans to marry him in this humorous romantic adventure through the American Frontier of 1798.
The epic saga of a frontier family, Cimarron starts with the Oklahoma Land Rush on 22 April 1889. The Cravet family builds their newspaper Oklahoma Wigwam into a business empire and Yancey ... See full summary »
Double-agent Alexander Eberlin is assigned by the British to hunt out a Russian spy, known to them as Krasnevin. Only Eberlin knows that Krasnevin is none other than himself! Accompanying ... See full summary »
A research scientist conducting experiments on a new anaesthetic finds herself being blackmailed by a women she accidentally knocked down with her car; the woman wasn't hurt, but a scheming... See full summary »
Flamarion, expert marksman, is entertaining people in a show which features Connie, beautiful woman and her husband Al. Flamarion and Connie fall in love and decide to get rid of the ... See full summary »
Erich von Stroheim,
Mary Beth Hughes,
Lance Poole, an Indian who won a Medal of Honor fighting at Gettysburg, returns to his tribal lands intent on peaceful cattle ranching. But white sheep farmers want his fertile grass range and manage to turn the ostensibly civilized white population against the tribes, with tragic results. Written by
Jim Beaver <email@example.com>
After an unsuccessful May 1950 press preview, Metro shelved the film. The grim movie was superbly made, but its uncompromising, downbeat story seemed to spell box-office disaster. After the release of the more mainstream "Broken Arrow," the following fall, it did get some bottom-of-the-bill bookings in neighborhood grind houses but little business and has remained little seen. See more »
I envy you, ma'am., you being a lawyer.
You got a faith, something to go by... like a religion. With you it's the law.
My father wanted me to study law. It means a great deal to me.
Yes, it must. I've always wanted something like that. Something to tell me what's right or wrong.
I'm glad you feel the way you do.
Because then you don't have to bother about your conscience. It's written out for you to follow... no matter what it does to people. It's the law. And changing the law is ...
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Your one other comment on this film so far (Under the Arch) sums up my feelings entirely. Why this masterpiece of a film is not mentioned in the same historical discussions of great westerns as Stagecoach, The Oxbow Incident, High Noon, Treasure of the Sierra Madre, etc. is beyond me. But of course it was made by Anthony Mann and that says it all. Those little known episodes in our nation's history in which greedy white men dispossessed cooperative and non-violent native Americans can never be re-told often enough; such as when Andrew Jackson, despite a Supreme Court decision to the contrary, conspired in the 1820s with the land robbers so as to allow those white men to exploit the state's mineral wealth in the 1820s. The peaceful and civil Cherokees were driven out of their Carolina homelands and into concentration camps. (Hitler had nothing on Andrew Jackson.) From there the Cherokees were driven into Florida and then on to Oklahoma via the "Trail of Tears." And the Devil's Doorway is such a classic tale of land-grabbing, ethnic cleansing, bigotry, and high-handed discriminatory bureaucracy as to make your flesh creep. See it.
PS I recently (2009) saw Anthony Mann's Cimarron (1960, his last Western) for the first time and read all the many reviews of it. Many went into great depth as to Mann and his career, listing and evaluating many of his previous films. Not one of them mentioned this film, perhaps his greatest! So even among Mann aficionados one of his greatest accomplishments has fallen by the wayside and into the memory hole! What can be done about this to bring back such a classic and restore it to its rightful place in film history?
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