The Painted Desert

The Painted Desert is best remembered as Clark Gable's first substantial role for good reason. The future King of Hollywood's natural, dynamic style of acting stands out in this extremely creaky early talkie Western. In an unrewarding heavy role Gable speaks in his trademark relaxed, cocky manner, while other, more experienced actors such as J. Farrell MacDonald, early silent era star William Farnum, and a stiff-as-a-board Bill Boyd deliver their lines one distinctly enunciated word at a time as if speaking toward a microphone hidden in a cactus. Admittedly Boyd wasn't much of an actor in spite of his good looks and sunny disposition, but MacDonald and Farnum were. Blame an under-financed sound department and uninspired direction by Howard Higgins, who also co-wrote the murky script for this lumbering oater. Those who would excuse the stiff direction and acting as caused by unavoidable problems with early sound equipment should first take a look at Joseph Von Sternberg's Morocco (1930), released the year before The Painted Desert, but showing a marvelously sophisticated and artistically pleasing use of sound. Other than Gable, the only other actors who managed to rise above the restraints of the over-compensating sound technicians and Higgin's stodgy direction were gorgeous leading lady Helen Twelvetrees and Boyd's beautiful white horse.

That's not to say that The Painted Desert doesn't have some good points -- especially for die-hard Western fans. Most of the low, low budget must have been spent carting the actors, crew, and equipment around several scenic Arizona locations, including the sure-enough Painted Desert. Sets by art director Carrol Clark and costumes by Gwen Wakeling were well turned out and authentic looking. Oldblackandwhite, who is one of the vanishing breed of Texans still preferring the Stetson style to the ubiquitous Beaver Cleaver ball cap, wishes he could find the hatter Ms. Wakeling used for this picture. The sets and costumes, along with a folksy, real-to-life dialog, as plodding as the delivery was, gave the movie an authentically quaint, rustic 19th century ambiance missing in many a better produced Western.

Best of all, and almost worth the price of a DVD -- a cheap one anyway -- was having a tense, climactic, sixgun showdown between two elderly gentlemen! But there wasn't much else to get excited about in The Painted Desert. Mainly for curiosity seekers, dedicated Clark Gable fans, fanatical Western aficionados, and the usual desperate insomniacs. Neither the best nor the worst from Old Hollywood's Classic Era.

Two prospectors come across an abandoned covered wagon - abandoned, that is, except for a baby. They have a disagreement, one stays to raise the baby and the other leaves, leaving his partner holding the bag, er, baby. Fast forward twenty-odd years, and the baby grows up to be William Boyd. The two prospectors are deadly enemies, and the grown-up baby tries to bring them together. Added bonus; the one who left now has a pretty daughter, a development not lost on the boy.

The story is fairly interesting and could have been more so if the movie hadn't been cannibalized and crucial scenes removed for other movies. Several reviewers have mentioned some scenes have been taken out and with them much of the excitement was drained from the film. In addition, the acting is slow and deliberate giving the movie an artificial, stilted feel and will catch modern audiences off balance. On the whole, though, it is worth a look due to the peculiar nature of the subject matter, and to see Clark Gable as a bad guy minus his customary charm, and William Boyd before he hit the bigtime as Hopalong Cassidy.

The Painted Desert was one of the last features to be produced by Pathé in 1930 before being taken over by RKO, and one of the first to be released by the emerging RKO-Pathé Distributing Corporation. After its initial release it was put back on the shelf, supposedly never to be seen again. During this time four key action sequences were removed to be used as stock footage in later RKO films, among them the 1938 re-make also titled The Painted Desert. In 1955 the RKO library was sold to C&C Television Corporation for TV syndication, primarily on CBS affiliated stations, and both versions of The Painted Desert were in the package. 35MM source material for these 16mm television prints was missing all of the deleted footage, so that what remained, and all that viewers have been able to see for the last fifty years, was a lot of talk, and practically no action. The sequences which are missing are most of the cattle stampede at the beginning of the film, a wagon hi-jacking and subsequent stampede into the canyon mid-way into the film, an attempted, but unsuccessful wagon hi-jacking soon afterwards, and the big mine explosion and resultant landslide that destroys the mining camp further on. (Two very impressive shots from this last sequence can be found in Republic's Red River Valley (1936).) Frustratingly, the results of these events are shown, and much talked about, but the events themselves are nowhere to be seen. The version shown on Turner Classic Movies, though of superior visual quality, having been derived from the surviving original 35MM material, is still missing these key sequences, though no mention is made of it on the air.

Even with what must have been some well executed and nicely photographed action sequences, The Painted Desert would still suffer from many of the same problems that make it so hard to take today, only less so. The direction by Howard Higgin is of the burdensome, slow moving style that typifies so many early sound films, best and most often described as "creaky." But William (billed as Bill) Boyd displays all the positive and natural characteristics that made him popular with audiences five years later as Hopalong Cassidy. We hear too often about the handful of silent players who did not make the transition into sound; Boyd was one of the greater number who did. As for Gable, in his first speaking role, it's all there. When he's on the screen, you know you've got something, and, as they say, the rest was history. Helen Twelvetrees was a competent actress who found her niche in big city melodramas, often as the victim of her environment, or the bad, bad people inhabiting it. She suffered a lot, but she suffered well. The only conceivable reason why she was so badly mis-cast in this film must have been that she was under contract to Pathé, and owed them a picture, or was being punished for not playing ball with the front office, or something like that. Charles Sellon as a tipsy miner is just plain tiresome. Farnum and MacDonald give just exactly what we've learned to expect from them, on target performances of the old school.

Under ordinary circumstances, such a film would be of little value today, and probably rarely, if ever shown. But The Painted Desert is Clark Gable's first prominent role, and his first sound film, granting it a permanent place in film history, as well as an object of interest. Copyrighted by the soon-to-be-defunct Pathé Exchange in January 1931, this film fell into public domain when the copyright was not renewed in 1958, and during the ensuing years has become a staple of videotape distributors who specialize in titles over which there are no longer any legal restrictions, but which have some modicum of popular appeal. Promoting Clark Gable's presence, usually with latter day publicity photos in which he appears older, and hence, the film younger, a lot of usually inferior copies of the truncated version have found their way into a lot of videotape collections and/or thrift shops.

It would be nice to think that the film might be restored to its original length by re-inserting the missing sequences, if and when they could be identified and found, but this is highly unlikely. If a complete, original print could be located somewhere, at least Turner Classic Movies could be alerted to upgrade their version; in the meantime, at least an awareness of what we've got, and what's missing, might make The Painted Desert a little more tolerable for Clark Gable completests if no one else.

The Painted Desert is a less than average western in which Clark Gable made his first film with any billing. Previously he had been a bit player in several silent features, but this his first role of any substance. It's the only reason The Painted Desert has any significance in Hollywood history.

Made for Pathe Pictures just before they merged with RKO, The Painted Desert is the story of two old desert rats, William Farnum and J. Farrell MacDonald who find an infant alive in a covered wagon on the desert.

For reasons I don't understand, a disagreement about whether to lay claim to a waterhole or to push on further and find enough land for a cattle ranch turns these friends into blood enemies. Farnum takes the infant and raises him as his own.

The infant grows up to be William Boyd in his pre-Hopalong Cassidy days and he becomes a mining engineer and discovers tungsten ore on the MacDonald property. He also takes a shine to MacDonald's daughter Helen Twelvetrees. Also in the race for her hand is Clark Gable.

Gable's performance as the roughneck rival to Boyd caught some attention at Metro-Goldwyn-Mayer and he became within a year, the studio's biggest star ever in its existence.

Possibly due to bad editing, possibly to bad writing, but The Painted Desert is far from the greatest western I've ever seen. But it yielded something far more valuable than tungsten.

The only thing I can say after watching this movie is that I saw some history. This movie is over 90-years-old as of today and it looked it. The picture quality and the sound were a tad above awful and the acting was not far behind. Cinematic issues aside, this movie had a very simplistic plot and I still had a hard time following it. It was too hard to make out the faces to know who was who and who did what.

Two traveling companions, Cash Holbrook (William Boyd) and Jeff Cameron (J. Farrell MacDonald), found an abandoned baby boy. What do you think their next course of action was? If you said locate a family for him then you're wrong. They got into a lifelong feud over the boy. They split right then and there over who should raise the boy and Cash Holbrook was the victor in that respect. He raised him and named him Bill Holbrook (William Boyd).

Years later, when Bill was an adult, we got to see what became of Bill and the two men. Cash was the wealthy owner of a cattle company while Jeff was a struggling rancher who owned the rights to a local watering hole. Jeff's watering hole was the only thing Cash wanted of his.

Bill would eventually split from his father and go work for Jeff. Actually, Cash kicked his adopted son out of the house which prompted Bill to go work for Jeff. Why was Bill run off by his pa? Bill had the audacity to suggest that Cash work with Jeff to help mine some tungsten on Jeff's land. For such a blasphemous suggestion Cash ran off his beloved adopted son.

Would Jeff and Cash ever become friends again? Would Bill ever reunite with his adoptive father? It wasn't very compelling stuff, but what else were you going to watch in 1931?

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