Self-absorbed Dr. Lee Johnson enlists with the Army medical corps during World War II, more out of a feeling that it's "the thing to do" rather than deep-seated patriotism. On his first day... See full summary »
Philip Sutherland is an American news writer stationed in Moscow since the war; while there he falls for a Russian ballet dancer, Marya Lamarkins, who, he finds out, learned English because... See full summary »
At a mayors convention in San Francisco, ex-longshoreman Steve Fisk meets Clarissa Standish from New England. Fisk is mayor of "Puget City" and is proud of his rough and tumble background. ... See full summary »
In the 1830's beaver trapper Flint Mitchell and other white men hunt and trap in the then unnamed territories of Montana and Idaho. Flint marries a Blackfoot woman as a way to gain entrance into her people's rich lands, but finds she means more to him than a ticket to good beaver habitat. Written by
Ron Kerrigan <email@example.com>
Early in the movie when Kamiah is talking to Flint about trading horses for a wife, there is an automobile seen in the lower left hand corner driving along a road in the background far away. Obviously this movie took place long before cars were invented. See more »
My father told me that for the first time, he saw these Indians as he had never seen them before - as people with homes and traditions and ways of their own. Suddenly they were no longer savages. They were people who laughed and loved and dreamed.
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This is one of Clark Gable's better films of the 1950s, though it never really got that much attention and many have unjustly written it off as "just another Western". However, if you watch it you'll find that the film has two major points that make it unique and a very beautiful film. First, the film is about the period BEFORE that shown in most Westerns. The typical Hollywood Western occurs between 1866-1880, though there are a few exceptions before and after. However, very few deal with life in the West circa 1829 when the only White men were fur trappers. Since I am a history teacher, I admire this about ACROSS THE WIDE MISSOURI. Second, the film humanizes the Native Americans much more than most films and there are no "black and white" groups in the film. Many of the Indians are quite decent but they also are not uniformly good either--and the same goes for the trappers. I particularly loved the relationship that developed between Clark Gable and his Indian bride. It did a lot to build sympathy for the characters and once again truly humanized both characters. The only real negative about this is that three of the key Indian roles are played by non-Indians (J. Carrol Naish, María Elena Marqués and Ricardo Montalban)--a standard practice in the time it was made.
While these two points make this a memorable film, it sure doesn't hurt that this film has some of the most vivid and beautiful scenery of any film of the 1950s. It's obvious that this wasn't filmed on some sound stage or filmed in the outskirts of Los Angeles! So overall, what's not to like about this film?! Excellent acting, a great script and a uniqueness make this a film worth seeking.
By the way, this film is highly reminiscent of the wonderful Robert Redford film, JEREMIAH JOHNSON--another film well worth your time.
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