Gangster's moll Honey Swanson goes into hiding when her boyfriend is under investigation by the police. Where better to hide than a musical research institute staffed entirely by lonely ... See full summary »
Jim Dixon feels anything but lucky. At the university he has to do the bidding of absent-minded and boring Professor Welch to have any hope of keeping his job. Worse, he has managed to get ... See full summary »
The story of three racing drivers and three women, who constantly have to worry for the lives of their boyfriends. Jim Loomis and Mike Marsh drive for Pat Cassarian. Jim expects his fiancée... See full summary »
War veteran pilots Dizzy Davis, Texas Clark and Jake Lee are working in an airline. Dizzy is fooling with one of the younger pilot's girl-friend and due to this, he changes flights with ... See full summary »
The story of trench life during World War I through the lives of a French regiment. As men are killed and replaced jaunty Lt. Denet becomes more and more somber. His rival for the affection of nurse Monique is Capt. La Roche.
Jim Deakins is a frontiersman and Indian trader who is making a perilous journey with a group of other men up the Missouri River to get a large haul of furs from friendly Blackfoot Indians. The problem is that they have to get through hostile Indian territory first and they find that they have seriously underestimated the difficulties they will undergo. The large body of men who started the journey are gradually whittled down until only a hardy few, like Deakins, are left. Written by
While shooting Red River (1948), there was a scene that director Howard Hawks unsuccessfully urged John Wayne to do. It involved his getting a finger mangled between a saddle horn and a rope, resulting in Walter Brennan's amputating it. Hawks reportedly told Wayne, "If you're not good enough, we won't do it", but Wayne wouldn't do it. According to Hawks biographer Todd McCarthy, Hawks did get Kirk Douglas to do that scene in this film, and it came off so funny that Wayne later declared to Hawks, "If you tell me a funeral is funny, I'll do a funeral." See more »
Deakins' amputated finger is whole again when he hides out in the cave with Teal Eye and the others, and in every scene after that. See more »
I remember once there being a trapper named Parker. He run smack into a big grizzly bear. The bear sure made a mess out of Parker before we killed it. Ripped one of his ears clear off. But this child just happened to have a needle and some of this deer sinew, just like we got here. Yeah, while his ear was still hot, I picked it up and sewed it back on his head. And it growed most as good as ever.
[and a little later]
I said growed most as good as ever. Not hardly. It seems I sewed Parker's ear ...
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Opening credits prologue:
The early history of America is a tale of great first times. There were men who were the first to cross new prairies and new mountains, the first to find gold, silver and copper; to plow new wheat fields and build new settlements.
This is the story of another of the great American firsts--the tale of the first men who took a keelboat up the wild and unexplored Missouri River--who poled, pulled and rowed their way from St. Louis through 2000 miles of hostile Indian country to the hills of Montana and opened a new land for the future - - The Great Northwest. See more »
A great film brings us back to the dreams of our prime
Everything in "The big sky" has the brand of greatness: story, direction, acting, script, photography, locations. Yet there's something more. Along the film, director Howard Hawks keeps touching profound strings of our souls. Indeed, we grown-up viewers are, more or less consciously, brought back to the dreams of our prime, which is always a source of sweet, though melancholic, bliss. Every young boy has dreamed a totally free life like that of the guys on the screen. Action and adventure, merged into a wild, glorious, almost impossibly beautiful nature. Having fun with our mates, and, when necessary, fighting against the bad ones. Contacting the cultures of far-away, fascinating populations. And, as the main benefit, loving a gorgeous Indian girl.
Follows an incomplete exposition of the other merits of "The big sky". The film is brilliantly made and interpreted. The actors are all outstanding. Arthur Hunnicutt dominates. Kirk Douglas' natural dynamic way is perfect for his role. Dewey Martin is excellent, as well. Special mentions to Elizabeth Threatt as Teal Eye and to Hank Worden as the funny but smart Poordevil. The black and white photography is magnificent. Indeed, only black and white seems capable to render the incredible bright of Threatt's eyes. And it fully respects and gives depth to the beauty of nature.
As usual in Howard Hawks' works, the movie is based on swift-pace-action amalgamated with the human interaction of the characters. Here we have a world with no established laws, out of those of nature. People survive if they recognize who is a friend and who is an enemy, independently on being white or native. The mixture of languages, English, French, Native, and related, often funny, translations, is a fine device to give realism to the script. The love story develops at the rhythm of nature, similarly to the endless journey of the keel-boat, and it's even touching at the ending. We also see that irrational hate is not just criminal nonsense, it's even ridiculous.
It seems that "The big sky" was considerably cut by the studios. In fact, some magnificent choral scenes appears to be too short. One instance for all: the paramount scene of the Blackfeet hauling the keel-boat on the river lasts just few seconds. To cut the film was certainly a very bad idea. Fortunately, "The big sky" remains a masterpiece, worth of Hawks' immense talent and genius. Well, it's enough clear that I like this movie. Indeed, I strongly believe that Howard Hawks was born to give us joy. "The big sky" is a major evidence in favor of my opinion.
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