This film has a lot of aspects that are quite refreshing and remarkable considering when it was made. The main supporting role is a Japanese cowboy! His character is not a typical stereotype either. Though he is comic relief, he is also given a role as a wise friend to Taylor's character. The unglamourous but brave and capable women in this film are also a nice surprise. They shoot, ride, lift and pull and do all the jobs usually done by men on this trip without complaint. One of the most touching scenes is right after an Indian raid as the women call out the names of the dead and the camera pans down to their lifeless bodies. It's a simple and unsentimental memorial to the sacrifices made.
60 Reviews
Thank goodness--a western that is different!!
planktonrules11 June 2010
Between 1930 and 1960, 97% of all movies (that's 14729239520520 films) were westerns--or so it would seem. And, sadly, almost all of them have one of about five different plots and variations on these plots. Because of this, I really have very little patience with the genre--though I must admit that I have reviewed quite a few westerns. The ones I like are often ones that are somehow a bit better--despite the familiar plots, fine acting and direction make them watchable. Rarely, very rarely, do I see one that not only has fine acting, direction AND a novel plot--and all that is in "Westward the Women".
The film begins in a remote part of the old west--so remote that there are no women for all the men. Because of this, the men hire a tough trail boss (Robert Taylor) to recruit the women and bring them to a small outpost. The problem, however, is that the only way is a long trek across the prairie--through Indian land and desert. These women sure have to be tough--otherwise they'll never make it. And, in fact, unlike any other western I can think of, many of the women DON'T.
What also makes this a very good film are the nice little characters within the film. So it's NOT just a Robert Taylor film but excels because of the fine ensemble cast. One of the standouts is Hope Emerson--a brawny actress who made a name for herself playing gangsters and other scary characters.
Overall, there's not a lot to dislike about the film and it's a nice little story about American history you don't normally hear. Worth seeing and a top-notch production--with a real lump-in-your-throat ending. Sweet, sentimental and exciting.
The film begins in a remote part of the old west--so remote that there are no women for all the men. Because of this, the men hire a tough trail boss (Robert Taylor) to recruit the women and bring them to a small outpost. The problem, however, is that the only way is a long trek across the prairie--through Indian land and desert. These women sure have to be tough--otherwise they'll never make it. And, in fact, unlike any other western I can think of, many of the women DON'T.
What also makes this a very good film are the nice little characters within the film. So it's NOT just a Robert Taylor film but excels because of the fine ensemble cast. One of the standouts is Hope Emerson--a brawny actress who made a name for herself playing gangsters and other scary characters.
Overall, there's not a lot to dislike about the film and it's a nice little story about American history you don't normally hear. Worth seeing and a top-notch production--with a real lump-in-your-throat ending. Sweet, sentimental and exciting.
A very unusual and very fine western.
MOscarbradley18 February 2020
"Westward the Women" may not be the greatest western ever made but it's certainly one of the most unusual and is, indeed, very fine and I'm amazed it isn't better known. The women in question are 140 brides being brought West for for the male townsfolk in a Californian valley on a wagon-train lead by Robert Taylor. The director of the picture was William Wellman and William C. Mellor shot it in crisp black-and-white and it has a fine screenplay by Charles Schnee from a story by none other than Frank Capra.
As wagon-train movies go, it's not only unusual but remarkably robust and full of incident and it deals with the male/female dynamic with a surprising degree of honesty and if you don't think so, remember this was 1951. It's certainly not sentimental and Wellman approaches his subject with much the same documentary-like realism that John Ford brought to "Wagonmaster". In a good supporting cast Denise Darcel and Hope Emerson stand out.
As wagon-train movies go, it's not only unusual but remarkably robust and full of incident and it deals with the male/female dynamic with a surprising degree of honesty and if you don't think so, remember this was 1951. It's certainly not sentimental and Wellman approaches his subject with much the same documentary-like realism that John Ford brought to "Wagonmaster". In a good supporting cast Denise Darcel and Hope Emerson stand out.
The most honest portrayal of a wagon train ever filmed.
Irie21212 September 2004
Warning: Spoilers
The remarkable thing about this little-known Western is that it shows, in eye-opening detail, what hardships pioneers endured crossing thousands of miles of wilderness. And the reason it is so honest is that hardships of the trail are the whole point.
Robert Taylor is hired to drive a wagon train of potential brides--an interesting band of resolute widows, immigrants, and prostitutes, some quite familiar with guns-- to a newly formed community of farmers. At first he refuses, claiming women cannot withstand the demands of the weeks on the trail with only a few male escorts. And therefore the film presents those hardships.
At no point does the movie become predictable. Any of them could perish; several do. There's a rape scene, a murder, a flash flood, a runaway wagon, etc. You begin to hope for each woman's survival. Especially moving are the Italian woman and her young son, the unwed pregnant girl, the big-mama type (fabulous Hope Emerson), and Taylor's Chinese sidekick (their drunk scene is a treat). This is a movie that will change your view of Pacific-bound pioneers forever, especially of pioneer women.
Robert Taylor is hired to drive a wagon train of potential brides--an interesting band of resolute widows, immigrants, and prostitutes, some quite familiar with guns-- to a newly formed community of farmers. At first he refuses, claiming women cannot withstand the demands of the weeks on the trail with only a few male escorts. And therefore the film presents those hardships.
At no point does the movie become predictable. Any of them could perish; several do. There's a rape scene, a murder, a flash flood, a runaway wagon, etc. You begin to hope for each woman's survival. Especially moving are the Italian woman and her young son, the unwed pregnant girl, the big-mama type (fabulous Hope Emerson), and Taylor's Chinese sidekick (their drunk scene is a treat). This is a movie that will change your view of Pacific-bound pioneers forever, especially of pioneer women.
One of my all-time favorites
MartianOctocretr514 June 2008
A brilliant slice of pioneer-era Americana. In no other movie that comes to mind was there such a realistic portrayal of the Old West and its numerous perils than in this faithfully told story of pioneer women crossing the harsh western U.S. wilderness of 1850 from Missouri to California.
The ladies are responding to an ad placed by a leader (on behalf of several other men) in a pioneer settlement out in California for wives. These tenderfoot ladies may be looking for husbands, but there's nothing "weak" about them at all. They not only bravely face the hardships, dangers, and tragedies of the journey, but they soon learn how to handle their own with toughness and grit.
The story unfolds clearly due to a finely structured and developed script. The intertwining stories are well told and well acted. The mostly female cast are all strong, and Robert Taylor as "Buck," the guide and leader of the wagon train seems to enjoy the task of having dozens of female leads surrounding him. John McIntyre as the patriarchal Mr. Whitman (who hires Buck) is good, while Buck's friend, confidant, and comic-relief guy Ito is also a well-rounded character.
The ending is one of the most heartwarming ever in a western; this is the kind of movie that can be watched over and over again.
The ladies are responding to an ad placed by a leader (on behalf of several other men) in a pioneer settlement out in California for wives. These tenderfoot ladies may be looking for husbands, but there's nothing "weak" about them at all. They not only bravely face the hardships, dangers, and tragedies of the journey, but they soon learn how to handle their own with toughness and grit.
The story unfolds clearly due to a finely structured and developed script. The intertwining stories are well told and well acted. The mostly female cast are all strong, and Robert Taylor as "Buck," the guide and leader of the wagon train seems to enjoy the task of having dozens of female leads surrounding him. John McIntyre as the patriarchal Mr. Whitman (who hires Buck) is good, while Buck's friend, confidant, and comic-relief guy Ito is also a well-rounded character.
The ending is one of the most heartwarming ever in a western; this is the kind of movie that can be watched over and over again.
One of the best westerns made!
grayone_217 December 2003
This western is gritty and realistic, and does not spare the audience from the grim facts of an overland trek from St. Louis to California with a wagon train of women (the "weaker" sex, right?
As far as I know, this movie has no rival in its subject matter, and the stars are magnificent. You will laugh and you will cry, but most of all, you will come away with a deep admiration of those hearty pioneers and especially those wonderful women. I have the video in my library!
As far as I know, this movie has no rival in its subject matter, and the stars are magnificent. You will laugh and you will cry, but most of all, you will come away with a deep admiration of those hearty pioneers and especially those wonderful women. I have the video in my library!
Agreeable and attractive Western in which a brave guide escorts stubborn women from Chicago to California
ma-cortes27 October 2018
A thrillingly authentic movie actually filmed on the California overland trail. It deals with a farmer called Roy Whitman , John McIntire , hires a guide , Buck , to bring women to his farm in the California Valley. As he led about 200 women on an adventure that most men feared to face . As Roy along with Buck return to Chicago to enlist 150 women willing to become wives for his workers .From these volunteers he selects 138 who seem able to survive and undertaking a difficult journey .
The valiant traíl guíde called Buck, Robert Taylor , leads a group of woman from Chicago to California to marry men that have recently settling there. Each signed a contract to marry she selected from pictures of 200 homesteaders and then faced a journey across the untamed western wilderness to meet the stranger with whom she would begin a new life. They were women finding a future, forgetting the past. Some were hussies in silk who become heroines in calico . They defied Nature's fury, Indian attacks , a thousand perils and hardships and found the love they longed for at the end of the trail .All of them had to suffer dangers, risks , and a lot of deaths.
This is a really fashionable entry in Western genre with an original plot and a throughly agreeable film. The movie' enjoyability , greatness , and autenthicity rests not only in the accuracy of the hardship life in the Far West , but in the well orchestred series of incidents such as the Indian attacks , the difficulty of wagons to trespass mountains and the feeling romance between Robert Taylor and Denise Darcel . Decorated by important subjects of bravery , fidelity , survival , camaraderie ,and fight for life . Although overlong , but blessed with a high energy level , thanks to action , spectacular wagon train and go riding . Robert Taylor gives an acceptable acting as the tough and stiff guíde who escorts a group of brave women throughout the great American desert and the Rock Mountains. When this movie was broadcast in the Spanish Television in a Village called Plan was organized a caravan of women from all over Spain to marry the male villagers at a blind date , and many of those single men found the women of their lives. The film benefits itself from great secundaries , as support cast is pretty good , full of beautiful women as Denise Darcel, Julie Bishop , Marilyn Erskine , Mary Murphy and a few men as the veteran John McIntire, Roy Jenson , Chubby Johnson ,and sympathetic acting by Nakamura. Special mention for Hope Emerson as the grumpy and enormous widow .
This is a story giant in scope , unusual in concept with an interesting idea well developed along the movie .The script was written by the great Frank Capra , and he had schemed to shot himself and cast Gary Cooper in the lead , but a bit later on , was sold his screenplay to his neighbour , William A Wellman . It packs a magnificent cinematography in Black and White and in overblown and amazing deep by cameraman William Mellor . It contains an attractive , thrilling and lyric musical score by Jeff Alexander . The motion picture, a big MGM spectacle lavishly produced by Dore Schary , was competentingly directed by William A Wellman who made good films as A star in born , Ox Bow Incident , The high and the mighty , Gallant journey , Yellow sky , No things Sacred , Joaquin Murrieta , Beau Geste , Roxie Hart , Reaching for the sun , Men with wings , among others .
This is a really fashionable entry in Western genre with an original plot and a throughly agreeable film. The movie' enjoyability , greatness , and autenthicity rests not only in the accuracy of the hardship life in the Far West , but in the well orchestred series of incidents such as the Indian attacks , the difficulty of wagons to trespass mountains and the feeling romance between Robert Taylor and Denise Darcel . Decorated by important subjects of bravery , fidelity , survival , camaraderie ,and fight for life . Although overlong , but blessed with a high energy level , thanks to action , spectacular wagon train and go riding . Robert Taylor gives an acceptable acting as the tough and stiff guíde who escorts a group of brave women throughout the great American desert and the Rock Mountains. When this movie was broadcast in the Spanish Television in a Village called Plan was organized a caravan of women from all over Spain to marry the male villagers at a blind date , and many of those single men found the women of their lives. The film benefits itself from great secundaries , as support cast is pretty good , full of beautiful women as Denise Darcel, Julie Bishop , Marilyn Erskine , Mary Murphy and a few men as the veteran John McIntire, Roy Jenson , Chubby Johnson ,and sympathetic acting by Nakamura. Special mention for Hope Emerson as the grumpy and enormous widow .
This is a story giant in scope , unusual in concept with an interesting idea well developed along the movie .The script was written by the great Frank Capra , and he had schemed to shot himself and cast Gary Cooper in the lead , but a bit later on , was sold his screenplay to his neighbour , William A Wellman . It packs a magnificent cinematography in Black and White and in overblown and amazing deep by cameraman William Mellor . It contains an attractive , thrilling and lyric musical score by Jeff Alexander . The motion picture, a big MGM spectacle lavishly produced by Dore Schary , was competentingly directed by William A Wellman who made good films as A star in born , Ox Bow Incident , The high and the mighty , Gallant journey , Yellow sky , No things Sacred , Joaquin Murrieta , Beau Geste , Roxie Hart , Reaching for the sun , Men with wings , among others .
Not Just Another Pretty Face!
baadpat3 June 2001
Robert Taylor spent many years trying to overcome the "pretty boy" image of his early years in Hollywood. He yearned for the meatier tough guy roles and he loved the Western genre. He also had a flair for comedy that was not utilized (or recognized) enough in his career.
Westward The Women is a special film because of the incredible cast of female character actresses that populate it. I couldn't even speculate on the names of most of these delightful women but they are some of the more instantly recognizable faces that we never seem to be able to put a name to.
Each time I watch this film, the last "scene" (so to speak) is like the dessert at the end of a good meal. I eagerly anticipate it but control myself long enough to enjoy the movie. I have seen this movie countless times and seem never to tire of it. I hope others find this movie as special as I have over the last forty years.
Westward The Women is a special film because of the incredible cast of female character actresses that populate it. I couldn't even speculate on the names of most of these delightful women but they are some of the more instantly recognizable faces that we never seem to be able to put a name to.
Each time I watch this film, the last "scene" (so to speak) is like the dessert at the end of a good meal. I eagerly anticipate it but control myself long enough to enjoy the movie. I have seen this movie countless times and seem never to tire of it. I hope others find this movie as special as I have over the last forty years.
Here Come the Brides
wes-connors28 December 2007
This film invites some questions regarding its premise: a mid-1800s California town has no women; so, Robert Taylor (as Buck) is hired to bring over 100 women across the country, to mate with the waiting men. Certainly, there were women closer at hand; but, in those days, there were not enough to go around. It does appear like there are absolutely no women in this town; otherwise, it's a fine looking place.
Mr. Taylor is the leading man; he manages to always appear well-manicured, even in his beard. But, the real stars of the film are "The Women"; they are a collection of relatively lesser known performers, who are beautiful through their blood, sweat, and tears. "Westward the Women" is most refreshing in its portrayal of pioneer women as something more than damsel appendages; this film theme is not revolutionary, but it is not very often a focus. The women outperform Taylor and his men at every turn. Even when dead, they "move".
Hope Emerson (as Patience) is the most welcome addition to the wagon train. Denise Darcel (as Fifi Danon) is the one to watch fall for Taylor. Interestingly, Taylor forbids any of his men to hook up with any of the women; when they inevitably do couple up, he shoots the men -- but, the rule changes after he succumbs to the sexual urge. Japanese "boy" Henry Nakamura (as Ito) is content with a dog. The dog is a real highlight; but, only makes a rare appearance after Mr. Nakamura retrieves it, from Tony's grave.
The peak of the movie occurs after several of the men take eight women, and leave. This means the remaining women must become even more resourceful. During a shooting lesson, a tragedy occurs, which symbolizes the women's great challenge, and illustrates their great strength. The women eventually take over the mission and the decision making; of course, Taylor is proud. Director William A. Wellman and photographer William Mellor perform very well; the wagon mishaps are suspenseful, and Mr. Wellman heightens interest throughout. The film looks great either colorized, or in black and white; real 1950s color would have been a glaring error.
Mr. Taylor is the leading man; he manages to always appear well-manicured, even in his beard. But, the real stars of the film are "The Women"; they are a collection of relatively lesser known performers, who are beautiful through their blood, sweat, and tears. "Westward the Women" is most refreshing in its portrayal of pioneer women as something more than damsel appendages; this film theme is not revolutionary, but it is not very often a focus. The women outperform Taylor and his men at every turn. Even when dead, they "move".
Hope Emerson (as Patience) is the most welcome addition to the wagon train. Denise Darcel (as Fifi Danon) is the one to watch fall for Taylor. Interestingly, Taylor forbids any of his men to hook up with any of the women; when they inevitably do couple up, he shoots the men -- but, the rule changes after he succumbs to the sexual urge. Japanese "boy" Henry Nakamura (as Ito) is content with a dog. The dog is a real highlight; but, only makes a rare appearance after Mr. Nakamura retrieves it, from Tony's grave.
The peak of the movie occurs after several of the men take eight women, and leave. This means the remaining women must become even more resourceful. During a shooting lesson, a tragedy occurs, which symbolizes the women's great challenge, and illustrates their great strength. The women eventually take over the mission and the decision making; of course, Taylor is proud. Director William A. Wellman and photographer William Mellor perform very well; the wagon mishaps are suspenseful, and Mr. Wellman heightens interest throughout. The film looks great either colorized, or in black and white; real 1950s color would have been a glaring error.
A Brilliant Film
JohnD6120 May 2017
This is truly a brilliant film, one of the best westerns ever made. The performances are uniformly excellent. Hope Emerson stands out for me. She is a heck of woman! Frank Capra was supposed to direct it, but he handed the reins to William Wellman and he does a great job. This a salute to the pioneer spirit and even more a salute to the resilience, strength and determination of women. This group of women could stand with any group of pioneer men and best many of them. A wonderful film. I have often wondered how it ever got made. At that time, a western with women filling up most of the main cast had to be a hard sell.
Caravan of graft, guile and stoicism.
hitchcockthelegend2 August 2018
Westward the Women is directed by William Wellman and adapted to screen by Charles Schnee from a story written by Frank Capra. It stars Robert Taylor, Denise Darcel, John McIntire, Hope Emerson, Julie Bishop and Henry Nakamura. Music is by Jeff Alexander and cinematography by William Mellor.
A most important Western, one that demands to be seen by lovers of the genre. Plot finds Taylor tasked with escorting over 100 women from Chicago to California, their goal is to find marital harmony at Whitman Valley. They must overcome extreme conditions, from that of the natural terrain, hostile invasions, and inner fightings via passions and suspicions. This is a wagon train of some difference.
The key issue here is that this MGM production puts up front and centre the fact that women played a key part in the shaping of the frontiers. It manages to have the expected cute and funny scenarios, but not at the expense of viable assertive drama, nothing denigrates how strong, brave and driven these women were.
Some of the gender politics look a touch suspect today, and occasionally some of the framing devices for the women are over staged. There's also the irritant of stereotyping Nakamura's Asian character, but these are small quibbles all told. For this is a unique and fascinating Western, something of a banner movie for telling a side of the "West" we hardly have ever see on film. 7/10
A most important Western, one that demands to be seen by lovers of the genre. Plot finds Taylor tasked with escorting over 100 women from Chicago to California, their goal is to find marital harmony at Whitman Valley. They must overcome extreme conditions, from that of the natural terrain, hostile invasions, and inner fightings via passions and suspicions. This is a wagon train of some difference.
The key issue here is that this MGM production puts up front and centre the fact that women played a key part in the shaping of the frontiers. It manages to have the expected cute and funny scenarios, but not at the expense of viable assertive drama, nothing denigrates how strong, brave and driven these women were.
Some of the gender politics look a touch suspect today, and occasionally some of the framing devices for the women are over staged. There's also the irritant of stereotyping Nakamura's Asian character, but these are small quibbles all told. For this is a unique and fascinating Western, something of a banner movie for telling a side of the "West" we hardly have ever see on film. 7/10
Westward On!
sarahj7412 April 2005
If only this movie would come out on DVD . . . As a woman, this is one of my favorite westerns because it shows women who were courageous, brave, and faced the same danger as all men who went west. The movie has times when you will roll with laughter and even though there may be no tears from cowboys, there are some tearjerker moments. The women in this film are not the 2 dimensional beauties who wait patiently in the wagon for the menfolk to save the day. Regardless of how many times I've seen this movie, I enjoy every single time. Unlike most westerns, any and all gunfights move the plot along and show the women evolving on their journey west. To me, this western is along side Fort Apache for the most well written script.
Good movie for it's age
LukeCoolHand17 January 2022
Warning: Spoilers
Saw this movie on TV about 60 years ago and finally saw it again today - did not remember anything about it except for the ending when the women are selecting their mates. It started off with fast pacing but really started to slow down as it moved along. It was pretty good for a 70 year old movie even though it was flawed to some extent. One thing was they claimed it was a 2000 mile trek and a lot of the women would have to walk. WHAT !!! At say walking at 2 MPH that would be about 30 miles per day so it would have taken them almost 2 years. LOL. Another thing was those clothes the women made out of table cloths certainly looked great. Ha ha. A lot of people love the movie because it is not the typical western. Anyway I enjoyed it somewhat but not enough to watch it again.
Badly aged attitudes but a fun fantasy
pingnova20 May 2023
Warning: Spoilers
Hard for me to rate. It's sexist and misogynistic, racist, whatever you want. That's to be expected for the era and genre, unfortunately.
Thought it was a cool story, when I could turn off my disgust over women being metaphorical cattle driven by a rugged cowboy to the men they are supposed to marry but have never met. Brought mail order brides to mind. It reminded me of Oregon Trail. Somebody was always breaking a leg or wagon wheel.
The depiction of non-white characters is expectedly underwhelming and offensive. Stereotypical depiction of Native people as only violent yet noble shouting warriors. You could cut that scene out of the film and nothing would be different, so I'm not sure why they felt it was necessary for the story, except for a moment of drama and stereotypes. The male lead wanted to leave one greiving woman to die because she didn't speak English (just Italian). I know his characterization is a hardass, but man, bad look. The Asian character has stereotypical broken English and frequebt slapstick funny moments, like slipping in the mud.
A lot of uncomfortable sexism. Even when the men are being noble and respecting the women, it's not for the women as individual people, but because their gender is female and they are (or could be) a wife or a mother. Or that they overcame their gender to do something only men can do. I think the thrust of the film was supposed to be a gender progressive narrative about how the white women who colonized the American West were also "strong," but it aged badly. It's not showing women as equals, but someone who could be made a man as long as they go through terrible trials and get rid of the things that make them women. When the women do something "strong" the camera cuts to the men smiling approvingly, as if it's only because of the men they could do anything. And once they're delivered to their future husbands, they go back to being meek.
It romanticizes white settlement of the American west, but that's an entire other essay. All westerns have that baseline.
Here's what I did like. There is a large cast of women who interact with each other frequently. There are many scenes of women doing things together and smiling about it. The large cast of women front and center is unusual for the era, so it was fun to see. Larger numbers of female characters give a much better environment to have well written female characters, so that just one or two women on screen don't have to represent all women ever. They are still all stereotypes in this film, but it was refreshing.
There is one woman depicted as very masculine, who I loved immediately. I am queer, and she gave me big dyke vibes. In the end she ends up in a light pretty dress and married to a man she's never met just like all the other women, but I enjoyed that departure from gender norms while it lasted.
Overall, if you can soldier through the vintage bigotry, it was a fun film. I'm gonna pretend in my head the masc woman and the Italian woman got together while sharing a wagon.
Thought it was a cool story, when I could turn off my disgust over women being metaphorical cattle driven by a rugged cowboy to the men they are supposed to marry but have never met. Brought mail order brides to mind. It reminded me of Oregon Trail. Somebody was always breaking a leg or wagon wheel.
The depiction of non-white characters is expectedly underwhelming and offensive. Stereotypical depiction of Native people as only violent yet noble shouting warriors. You could cut that scene out of the film and nothing would be different, so I'm not sure why they felt it was necessary for the story, except for a moment of drama and stereotypes. The male lead wanted to leave one greiving woman to die because she didn't speak English (just Italian). I know his characterization is a hardass, but man, bad look. The Asian character has stereotypical broken English and frequebt slapstick funny moments, like slipping in the mud.
A lot of uncomfortable sexism. Even when the men are being noble and respecting the women, it's not for the women as individual people, but because their gender is female and they are (or could be) a wife or a mother. Or that they overcame their gender to do something only men can do. I think the thrust of the film was supposed to be a gender progressive narrative about how the white women who colonized the American West were also "strong," but it aged badly. It's not showing women as equals, but someone who could be made a man as long as they go through terrible trials and get rid of the things that make them women. When the women do something "strong" the camera cuts to the men smiling approvingly, as if it's only because of the men they could do anything. And once they're delivered to their future husbands, they go back to being meek.
It romanticizes white settlement of the American west, but that's an entire other essay. All westerns have that baseline.
Here's what I did like. There is a large cast of women who interact with each other frequently. There are many scenes of women doing things together and smiling about it. The large cast of women front and center is unusual for the era, so it was fun to see. Larger numbers of female characters give a much better environment to have well written female characters, so that just one or two women on screen don't have to represent all women ever. They are still all stereotypes in this film, but it was refreshing.
There is one woman depicted as very masculine, who I loved immediately. I am queer, and she gave me big dyke vibes. In the end she ends up in a light pretty dress and married to a man she's never met just like all the other women, but I enjoyed that departure from gender norms while it lasted.
Overall, if you can soldier through the vintage bigotry, it was a fun film. I'm gonna pretend in my head the masc woman and the Italian woman got together while sharing a wagon.
Blood ,sweat and tears.
dbdumonteil4 March 2004
This is a William Wellmann's tour de force!In spite of the conventional macho Taylor,everything rings true ,this film has a smell of authenticity¨.Performances are so good (all the actors and mainly actresses) and nobody overacts .Sometimes it looks like a Russian movie,where the masses are the main hero.The fact that outside of English,THREE other languages are used (Italian,French and Japanese) shows Wellmann's respect for his audience.It's something to hear Denise Darcel sing "auprès de ma blonde " -a song from the seventeenth century- in the middle of the desert !
Some sequences are absolutely admirable ,I will mention three of them:
-the "recruitment" , the two women who hit the bull's-eyes (here a sheriff's eyes on a poster),the Italian family who registers without knowing what terrible fate lies in store for them (if they made a remake,I wonder what the politically correct world of 2004 would make of the little boy)
-After the attack,the women ,like in an army tell all the names of the dead.An echo adds to the poignancy of the situation.
-And last but not least,the survivors,who are still women,show their coquetterie and demand new clothes to meet their men.
Actually,it's the whole film which is in turn tragic,funny ,poetic,and wonderful.The gauche attitude of the men when they meet their future wives is a delight.
SPOILER:The key to the film is the birth of a child ,under the blistering sun of the desert;after the awful death of the little Italian boy,it gives hope back to the women and (to the audience).It' s the promise for them all that new children will soon be born and carry on their mammoth task.
A Russian western describes this remarkable work.
NB:Although French,Denise Darcel never made a movie in her native country.
Some sequences are absolutely admirable ,I will mention three of them:
-the "recruitment" , the two women who hit the bull's-eyes (here a sheriff's eyes on a poster),the Italian family who registers without knowing what terrible fate lies in store for them (if they made a remake,I wonder what the politically correct world of 2004 would make of the little boy)
-After the attack,the women ,like in an army tell all the names of the dead.An echo adds to the poignancy of the situation.
-And last but not least,the survivors,who are still women,show their coquetterie and demand new clothes to meet their men.
Actually,it's the whole film which is in turn tragic,funny ,poetic,and wonderful.The gauche attitude of the men when they meet their future wives is a delight.
SPOILER:The key to the film is the birth of a child ,under the blistering sun of the desert;after the awful death of the little Italian boy,it gives hope back to the women and (to the audience).It' s the promise for them all that new children will soon be born and carry on their mammoth task.
A Russian western describes this remarkable work.
NB:Although French,Denise Darcel never made a movie in her native country.
"I'll Make Men of Them Before I'm Through."
bkoganbing11 December 2005
John McIntire approaches wagonmaster Robert Taylor with an interesting job and challenge. He wants to bring brides west to the settlement he's founded in the southwest United States. Taylor hires on a bunch of hands to escort the women and issues a no fraternization policy. When one of them tries to rape one of them, he shoots him out of hand. It's the unsettled frontier and as wagonmaster he's the law on that train as much as a captain on a ship at sea. Of course the hands mutiny and strand Taylor, McIntire, cook Henry Nakamura and the women.
This was a perfect western film for the post Rosie the Riveter generation. No reason at all why women couldn't deal with the rigors of a wagon train. Of course it helped to have the formidable Hope Emerson along.
Of course men and women will be men and women and Taylor breaks his own no fraternization policy with Denise Darcel. Of course this is away from the train when Darcel runs off.
William Wellman delivers us a no frills unsentimental western with gritty performances by Robert Taylor and the rest of the cast. In a bow to his colleague John Ford, Wellman does have a courtship dance at the settlement. I liked the use of the fiddle music playing Believe Me With All Those Endearing Young Charms and Drink to Me Only With Thine Eyes. Ford couldn't have staged it better.
Henry Nakamura had made a big hit in MGM's Go For Broke about the Nisei division in Italy. He was a funny little guy, I'm not sure he was even five feet tall. I loved the scene when he and Taylor find a stash of buried liquor and proceed on a toot. This was his last film though, roles for oriental players were hard to come by. I wonder whatever happened to him.
If you like traditional cowboy films, this one ain't for you, but given the constraints of 19th century society for the role of woman Westward the Women is quite a revelation.
This was a perfect western film for the post Rosie the Riveter generation. No reason at all why women couldn't deal with the rigors of a wagon train. Of course it helped to have the formidable Hope Emerson along.
Of course men and women will be men and women and Taylor breaks his own no fraternization policy with Denise Darcel. Of course this is away from the train when Darcel runs off.
William Wellman delivers us a no frills unsentimental western with gritty performances by Robert Taylor and the rest of the cast. In a bow to his colleague John Ford, Wellman does have a courtship dance at the settlement. I liked the use of the fiddle music playing Believe Me With All Those Endearing Young Charms and Drink to Me Only With Thine Eyes. Ford couldn't have staged it better.
Henry Nakamura had made a big hit in MGM's Go For Broke about the Nisei division in Italy. He was a funny little guy, I'm not sure he was even five feet tall. I loved the scene when he and Taylor find a stash of buried liquor and proceed on a toot. This was his last film though, roles for oriental players were hard to come by. I wonder whatever happened to him.
If you like traditional cowboy films, this one ain't for you, but given the constraints of 19th century society for the role of woman Westward the Women is quite a revelation.
The unvarnished hardships of the wagon train life
jjnxn-113 October 2013
An unvarnished look at the hard road that a group of women settlers have to face on a wagon train journey to California. Nothing is glamorized and the cost of the trip is honestly depicted as heavy with human lives. As with real life even in tough times there are humorous incidents that happen and they enrich the story and the film. Robert Taylor not usually the most facile of actors is well suited to this role, his weathered appearance and hard manner make the rough but fair wagon master relatable. Hope Emerson stands out as a no nonsense, plain spoken traveler but all the performances are very good. Written by Frank Capra who was too busy to direct fortunately, his style wasn't suitable for the story, he handed this over to Wild Bill Wellman who turned out to be a perfect fit. An involving, unusual picture.
Denise Darcel and great location photography!
JohnHowardReid9 June 2018
Warning: Spoilers
Produced by Dore Schary. Copyright 12 November 1951 by Loew's Inc. A Metro-Goldwyn-Mayer picture. New York opening at the Capitol: 31 December 1951. U.S. release: 31 December 1951. U.K. release: 4 February 1952. Australian release: 2 May 1952. 10,480 feet. 116 minutes. Location scenes filmed at Surprise Valley, Paria Canyon and Johnson Creek in the Mojave desert of Southern Utah.
NOTES: M-G-M cut the film to exactly 10,000 feet (111 minutes) in the U.K.
COMMENT: Typically, M-G-M has transmuted what could have been a moving piece of historical Americana into a wearisome parade of cornball clichés, redeemed by impressive location photography and a spirited performance by Denise Darcel.
The direction by William A. Wellman is visually stylish, but the decision to dispense with background music was a bad error of judgment as its lack points up dialogue and situation clichés more strongly.
Still, there is enough incident to maintain the interest, despite Wellman's method of telegraphing each plot development well in advance and despite a comic-relief Japanese cook who talks to the dog of a dead little boy and has a well-stocked repertoire of philosophic clichés for every eventuality - which come across as twice as boring in this film as he says them first in Japanese!
Revived at second-release cinemas, two or three times in the 1950's, Westward the Women lent itself to the sort of advertising campaign designed to draw in less discriminating patrons.
NOTES: M-G-M cut the film to exactly 10,000 feet (111 minutes) in the U.K.
COMMENT: Typically, M-G-M has transmuted what could have been a moving piece of historical Americana into a wearisome parade of cornball clichés, redeemed by impressive location photography and a spirited performance by Denise Darcel.
The direction by William A. Wellman is visually stylish, but the decision to dispense with background music was a bad error of judgment as its lack points up dialogue and situation clichés more strongly.
Still, there is enough incident to maintain the interest, despite Wellman's method of telegraphing each plot development well in advance and despite a comic-relief Japanese cook who talks to the dog of a dead little boy and has a well-stocked repertoire of philosophic clichés for every eventuality - which come across as twice as boring in this film as he says them first in Japanese!
Revived at second-release cinemas, two or three times in the 1950's, Westward the Women lent itself to the sort of advertising campaign designed to draw in less discriminating patrons.
Westward the Women - truly shows strong women functioning well in trying circumstances
tosergeant23 May 2013
I gave this movie ten stars because:
1. It tells an excellent story of brave women from all walks of life (widows, pregnant unmarried woman, women brave enough to go after what they believed was going to be a better life, and women of 'ill-repute' also looking for a chance to have a better life.) The women are the focus of the movie. Robert Taylor is good as the lead - and his 'side-kick' - a small size Japanese man are both very good. However - the focus is always on the women. The women could actually 'act'. The entire cast was excellent - and wonderful casting/
2. There is amazing character development and variety of personalities among the cast. The characteristics of the women are not the dominating story of the movie, but all their characteristics together make a good part of the story and show the variety of personalities found in brave and adventurous women. EVERY woman was a strong woman. Each had different abilities and strong points, but they were all very capable.
3. The women seemed very capable in a primitive setting actually driving wagons themselves - no shrinking violets there.
4. It shows the strength of determined women. Circumstances continually knock them down - but they refuse to give up.
5. It actually tells a good story. I don't think such a movie could be made today because the story of the women would be lost in smut, violence, and foul language.
6. There is romance in the movie, but the bravery and adventuresome spirits of the women is not overwhelmed or lost altogether by some romance.
7. It is always nice to watch a movie that is not trying to sway me politically, preach about one cause or another, use offensive language, or have unnecessary explicit sexual content. This is an enjoyable movie anytime.
1. It tells an excellent story of brave women from all walks of life (widows, pregnant unmarried woman, women brave enough to go after what they believed was going to be a better life, and women of 'ill-repute' also looking for a chance to have a better life.) The women are the focus of the movie. Robert Taylor is good as the lead - and his 'side-kick' - a small size Japanese man are both very good. However - the focus is always on the women. The women could actually 'act'. The entire cast was excellent - and wonderful casting/
2. There is amazing character development and variety of personalities among the cast. The characteristics of the women are not the dominating story of the movie, but all their characteristics together make a good part of the story and show the variety of personalities found in brave and adventurous women. EVERY woman was a strong woman. Each had different abilities and strong points, but they were all very capable.
3. The women seemed very capable in a primitive setting actually driving wagons themselves - no shrinking violets there.
4. It shows the strength of determined women. Circumstances continually knock them down - but they refuse to give up.
5. It actually tells a good story. I don't think such a movie could be made today because the story of the women would be lost in smut, violence, and foul language.
6. There is romance in the movie, but the bravery and adventuresome spirits of the women is not overwhelmed or lost altogether by some romance.
7. It is always nice to watch a movie that is not trying to sway me politically, preach about one cause or another, use offensive language, or have unnecessary explicit sexual content. This is an enjoyable movie anytime.
Determined Women in Search of Husbands
Uriah4319 February 2020
This film begins in 1851 where a man by the name of "Roy Whitman" (John McIntire) has established a nice agricultural business in California for himself due in large part to the efforts of a large number of men he has employed. But he realizes that the small town and everything he has built cannot survive unless he finds women to come there and settle down with these men. So he hires a wagon master by the name of "Buck Wyatt" (Robert Taylor) to ride with him to Chicago to seek out single women who are willing to withstand the grueling trip by wagon train in search of husbands. Although he signs up 140 women to attempt this journey he warns them ahead of time that it will be very hazardous and that he expects that a third of them won't make it all the way there. Determined in spite of the risks, the women start out only to realize just how right his prediction would turn out to be. Now rather than reveal any more I will just say that this was a decent western which captured the hardships of a wagon drive of this sort quite nicely. On the other hand, there were a couple of scenes that were rather dated or a bit too clichéd which served to detract from the overall film as well. But all things considered, I found this to be an enjoyable film for the most part and for that reason I have rated it accordingly. Slightly above average.
Excellent Western
misty-101 March 1999
I loved this movie since the first time I saw it on T.V. I wish more westerns were made like this one. I feel that Robert Taylor gave one of his best performances in this movie. He seemed to be an excellent horseman. He also looked great!!!!! in his western pants too.
Very good movie. Unique female theme.
doug-balch3 June 2010
Warning: Spoilers
This is a good movie. Worth watching.
Here's what I liked:
Here's what was not so great:
Here's what I liked:
- Unique female theme. In the vast majority of Westerns, the female roles are blatantly gratuitous. This movie puts a group of strong, independent women at the center of the film and stays with them to the end. This movie is a real contribution to the genre for that reason.
- Even though the rest of the "tough wagon train crossing" theme is clichéd, at least there are no gaping plot holes and all the characters and their motivations are consistent. Wellman knows how to tell a logical story and not leave any loose ends lying around.
- Rod Taylor is once again solid as the charismatic lead. He's doesn't play so much the "super scout" as the "tough wagon train boss".
- Great pains were taken to film in a variety of stunning Western landscapes and vistas. Hardly any sound stage scenes.
- Very sad scene where a little boy is shot dead by accidental "friendly fire" while the women are being trained to use a rifle. It's amazing that with all the bullets flying around in every Western we watch, more characters aren't killed by accident. Reminded me of "The Proud Ones" where a character finally gets a concussion from being struck on the head with the butt of a pistol.
Here's what was not so great:
- The only comic relief comes from a very stereotyped Japanese character.
- Indians only appear briefly, and then as clichéd faceless "others' whose sole purpose to attack a circled wagon train and kill good guys, or girls in this case.
- As mentioned above, except for the dominant women, script didn't depart an iota from the standard wagon train crossing movie.
- Black and white film severely detracts from the quality of the scenery.
Not Your Typical Western
BuddyBoy196126 June 1999
Warning: Spoilers
A truly unique western, "Westward The Women" follows the often grueling months-long trek of several dozen mail-order brides, led by Robert Taylor, from Chicago to California in 1851.
Lacking any musical score, except a title melody at the outset and some incidental music near the end, the film virtually plays like a documentary, utilizing unglamorous and extensive location shooting (despite a final MGM "Made In Hollywood" credit--little was actually shot inside a soundstage). Taylor, in an atypical role perhaps better suited to James Stewart, is a hard-driving, rough-hewn veteran cowboy who is at first highly suspicious of the women's chance of success, but eventually he is impressed, even overwhelmed, by their courage and fortitude amidst tremendous hardships encountered along the trail--hostile Indians, rough terrain, dust- and rain-storms, rationed water, and the unwanted advances from some of the dozen or so men accompanying them.
Director William Wellman's unpretentious approach to the theme of survival at any cost is enhanced by the stark black and white cinematography and deliberate avoidance of glossing over the harsher aspects of life on a wagon train in the nineteenth century; all the female characters are shot utilizing mostly flat, natural light sources, perhaps a daring choice by Wellman during the glamour-intensive fifties. The frankness with which he deals with the unbridled attraction many of the men and women exhibit toward each other is fascinating--in such a time and place formality is purely an afterthought when individuals are so alone in a land so untamed. Many of the men stare at the women like gold coins in a treasure chest; but the women are equally enthralled, each wondering if this is the match they've worked and waited for, for so long.
The women's eventual arrival in California, at tremendous cost both physically and personally (many of the original 100 or so women have died along the trail), is both touching and bittersweet. Though the outcome is to be expected, it is also tremendously satisfying, not for seemingly sentimental reasons but because the reward has been so hard won. Upon their arrival, the women refuse to meet their future husbands until they are allowed time to make themselves "presentable". What could easily be deemed an exercise in vanity is actually a demonstration of these women's will to fully finish what they've started; their desire to present themselves to the men in their best light is symbolic of their ultimate survival against overwhelming odds. They are, in essence, saying "we have won the battle, we are unscathed, and you must show us the respect we deserve".
One can not help but wonder if such a tale is not far from the truth, that thousands of women like those depicted in the movie braved the prairie for merely the hope of making a new life in the West. And it is that thought that ultimately makes "Westward The Women" resonate--that the West was tamed by both men AND women, and that their brave efforts and tremendous sacrifice should not be all but forgotten today.
Lacking any musical score, except a title melody at the outset and some incidental music near the end, the film virtually plays like a documentary, utilizing unglamorous and extensive location shooting (despite a final MGM "Made In Hollywood" credit--little was actually shot inside a soundstage). Taylor, in an atypical role perhaps better suited to James Stewart, is a hard-driving, rough-hewn veteran cowboy who is at first highly suspicious of the women's chance of success, but eventually he is impressed, even overwhelmed, by their courage and fortitude amidst tremendous hardships encountered along the trail--hostile Indians, rough terrain, dust- and rain-storms, rationed water, and the unwanted advances from some of the dozen or so men accompanying them.
Director William Wellman's unpretentious approach to the theme of survival at any cost is enhanced by the stark black and white cinematography and deliberate avoidance of glossing over the harsher aspects of life on a wagon train in the nineteenth century; all the female characters are shot utilizing mostly flat, natural light sources, perhaps a daring choice by Wellman during the glamour-intensive fifties. The frankness with which he deals with the unbridled attraction many of the men and women exhibit toward each other is fascinating--in such a time and place formality is purely an afterthought when individuals are so alone in a land so untamed. Many of the men stare at the women like gold coins in a treasure chest; but the women are equally enthralled, each wondering if this is the match they've worked and waited for, for so long.
The women's eventual arrival in California, at tremendous cost both physically and personally (many of the original 100 or so women have died along the trail), is both touching and bittersweet. Though the outcome is to be expected, it is also tremendously satisfying, not for seemingly sentimental reasons but because the reward has been so hard won. Upon their arrival, the women refuse to meet their future husbands until they are allowed time to make themselves "presentable". What could easily be deemed an exercise in vanity is actually a demonstration of these women's will to fully finish what they've started; their desire to present themselves to the men in their best light is symbolic of their ultimate survival against overwhelming odds. They are, in essence, saying "we have won the battle, we are unscathed, and you must show us the respect we deserve".
One can not help but wonder if such a tale is not far from the truth, that thousands of women like those depicted in the movie braved the prairie for merely the hope of making a new life in the West. And it is that thought that ultimately makes "Westward The Women" resonate--that the West was tamed by both men AND women, and that their brave efforts and tremendous sacrifice should not be all but forgotten today.
westward the women
mossgrymk4 October 2020
Best thing about this ok western is the general competence and grit of the ladies that certainly goes against the prevailing chauvinism of the early 50s when this film was made. Also commendable is William Mellor's gritty, dusty, yet at times lovely cinematography that mirrors the miseries and occasional splendor of the trek west. Less good is the standard for the times view of Native Americans as Menacing Others (What? You thought director Wild Bill Wellman would subvert BOTH early 50s sexism AND racism? Good luck with that.) Also, with the exception of Henry Nakamura's Japanese cowboy (anticipating Kurosawa by four years), no one in the cast stands out. Perhaps this is due to the overall blandness of Charles Schnee's dialogue. Certainly expected more from the scribe of "Bad And The Beautiful". Give it a B minus.
My only problem with this movie is ...
johnrp-122 September 2003
that it isn't out on DVD yet! I'd buy this movie in an instant, but knowing that I would watch it over and over again, the tape would soon wear out. So I am hopefully waiting for it to come out on DVD.
This movie is great! It's funny. It's touching. It's warm. It's violent. It's campy. It's everything you'd expect from the time period it was made in except for its portrayal of so many strong women. But my guess is that the women who made those journeys were in fact very strong in character.
In any case, I highly recommend it. It's a genuine "feel good" movie, even though it is riddled with many sad and turbulent scenes.
This movie is great! It's funny. It's touching. It's warm. It's violent. It's campy. It's everything you'd expect from the time period it was made in except for its portrayal of so many strong women. But my guess is that the women who made those journeys were in fact very strong in character.
In any case, I highly recommend it. It's a genuine "feel good" movie, even though it is riddled with many sad and turbulent scenes.
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