Architect Gordon Wales finds fellow apartmenthouse resident Joan Marsh locked out and flirts with her. When she is murdered evidence points to him. He and Joan's roommate Noreen become ... See full summary »
Texas Ranger Jake Cutter arrests gambler Paul Regret, but soon finds himself teamed with his prisoner in an undercover effort to defeat a band of renegade arms merchants and thieves known as Comancheros.
John Drury saves Duke, a wild horse accused of murder, and trains him. When he discovers that the real murderer, a bad guy known as The Hawk, is the town's leading citizen, Drury arrested on a fraudulent charge.
Breck leads a wagon train of pioneers through Indian attack, storms, deserts, swollen rivers, down cliffs and so on while looking for the murder of a trapper and falling in love with Ruth.Written by
Ed Stephan <email@example.com>
This was Marion Morrison's first major movie role and the producers didn't like his name. They told director Raoul Walsh that Morrison needed a new name. Several names were suggested, one of them from Walsh, who had just read about American Revolutionary War general 'Mad' Anthony Wayne. The studio took the hint, added the first name John and the rest was history. See more »
(at around 10 mins) Breck Coleman leans his rifle against the water pump, then leaves it there and goes into the house. Not something a 'real' frontiersman would do. See more »
Look how queer his horse is acting!
Yeah, he's riding zigzag - that's the Indian sign for palaver. There's the chief riding out to meet him now for a powwow.
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Opening credits prologue: DEDICATED- To the men and women who planted civilization in the wilderness and courage in the blood of their children.
Gathered from the north, the south, and the east, they assemble on the bank of the Mississippi for the conquest of the west. See more »
Only three years after Able Gance's "Napoleon," was released in the revolutionary Spherical (1:33:1) and Triptych (4:00:1 aspect ratio) process, Raoul Walsh's "The Big Trail" hit the market, shot in then-experimental "Fox Grandeur 70 mm."
That alone makes "The Big Trail" a technically significant film. Word has it that it failed economically, in part due to only two U.S. theatres presenting its original format (NYC's Roxy and LA's Grauman's Chinese Theatres). The rest of the country's movie houses balked at the cost of the extra equipment necessary, after having recently converted to sound. (Does this seem reminiscent of the "'Star Wars' digital satellite controversy" of 2002?)
Finding a VHS or DVD widescreen print of "The Big Trail" is difficult. It's been shown on tv and in special movie houses that way on occasion. Generally, though, one gets a standard screen version, which fails to capture the eye-popping 70 mm. aspect ratio of the original.
The production's statistics are impressive--a 347 cast/crew, covering 7 states in 10 weeks, replete with wagons, cattle, oxen, mules, horses, et al., retracing the first settler's trek over the Oregon trail one hundred years earlier.
Twenty year old Marion Morrison was renamed John Wayne and teamed with nineteen year old Broadway actress Margurite Churchill for a hoped-for "hot screen combination." The two worked efficiently, with Wayne's untrained, natural talent in evidence.
The production looks very laborious and challenging--yet appropriate to the conditions of those early pioneers. European "superiority" vs. Native American "savagery" is expressed in the script--establishing a skewed perspective for numerous films to follow. Likewise, macho "frontier justice" is forcefully dramatized--a model for many later western efforts.
"The Big Trail," while a technical landmark, also presents a Hollywoodized depiction of American history. For a more complete understanding of this period and these events, one is prone to engage in more committed and comprehensive research.
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