This is a tale of tragedy with a very old fashioned message - that the sad life of the protagonist Nasa Springer (Clara Bow) is part God's vengeance for the sins of the fathers, and part the result of her heritage, because Nasa is half Indian and thus has a savage nature. Cue eye rolls.
The film opens on a 19th century wagon train with the head of the wagon train, Silas Jennings, openly cheating on his wife and also getting violent with anybody who calls him on it. One man says that the Indian attack that the wagon train suffers and the resulting dead are God's judgment and talks about the sins of the father passing on to Silas' further generations. Next the film is in Texas, eighteen years later, and Silas' daughter Ruth has married her childhood sweetheart Pete. But Pete has no time for romance since he wants to get rich quite badly. Sad and neglected Ruth strikes up a friendship with a well educated and handsome Indian, Ronasa, and the two have an implied affair. The fruit of that affair is Nasa. (Didn't Pete think it strange that his wife basically named her after Ronasa? But I digress.)
So about 18 years later we meet grown Nasa (Clara Bow), fiery in both hair color and disposition. She gets into physical altercations, gets sent to a finishing school by her disapproving "dad" and manages to finish off a few of her classmates in fights in the process, rejects dad's choice for her marriage and weds a wastrel, and things just go downhill from there. At times she has money, at other times she doesn't, but she just can't stop being a wildcat.
The end is bittersweet, and the implication is that Bow will end up with "Moonglow" (Gilbert Roland) because the two are racially alike, NOT because all through the years, and the ups and downs, and through Nasa's bad treatment of him at times, this guy is the sweetest nicest person you could ever meet, has always been there for her, and is not bad on the eyeballs either.
Bow's acting is wonderful in this. Fox, at a time when it seemingly could do very little right (1930-1935), managed to make a true classic here, and a true precode, and they managed to do what Paramount never really could do - give Bow a really meaty talking picture role. Bow's outfits take great advantage of her figure, with bold shots of her cleavage and everything else she has above the waist There is plenty of infidelity and the resulting VD that occurs in one case, an attempted rape, prostitution, and a tragic fire. . And all of this from a studio that, at the time, was known for its homespun entertainment for rural folk. Gilbert Roland has a pretty small role, but he is absolutely charming. Thelma Todd is true to her nickname of "Hot Toddy" and almost unrecognizable with that short haircut, vying with Bow for the same men and matching Bow's character insult for insult and hair pull for hair pull when the two get into some very public altercations.
I'd strongly recommend this. It is great precode entertainment even with some of the maudlin melodrama and the muddled message.
The film opens on a 19th century wagon train with the head of the wagon train, Silas Jennings, openly cheating on his wife and also getting violent with anybody who calls him on it. One man says that the Indian attack that the wagon train suffers and the resulting dead are God's judgment and talks about the sins of the father passing on to Silas' further generations. Next the film is in Texas, eighteen years later, and Silas' daughter Ruth has married her childhood sweetheart Pete. But Pete has no time for romance since he wants to get rich quite badly. Sad and neglected Ruth strikes up a friendship with a well educated and handsome Indian, Ronasa, and the two have an implied affair. The fruit of that affair is Nasa. (Didn't Pete think it strange that his wife basically named her after Ronasa? But I digress.)
So about 18 years later we meet grown Nasa (Clara Bow), fiery in both hair color and disposition. She gets into physical altercations, gets sent to a finishing school by her disapproving "dad" and manages to finish off a few of her classmates in fights in the process, rejects dad's choice for her marriage and weds a wastrel, and things just go downhill from there. At times she has money, at other times she doesn't, but she just can't stop being a wildcat.
The end is bittersweet, and the implication is that Bow will end up with "Moonglow" (Gilbert Roland) because the two are racially alike, NOT because all through the years, and the ups and downs, and through Nasa's bad treatment of him at times, this guy is the sweetest nicest person you could ever meet, has always been there for her, and is not bad on the eyeballs either.
Bow's acting is wonderful in this. Fox, at a time when it seemingly could do very little right (1930-1935), managed to make a true classic here, and a true precode, and they managed to do what Paramount never really could do - give Bow a really meaty talking picture role. Bow's outfits take great advantage of her figure, with bold shots of her cleavage and everything else she has above the waist There is plenty of infidelity and the resulting VD that occurs in one case, an attempted rape, prostitution, and a tragic fire. . And all of this from a studio that, at the time, was known for its homespun entertainment for rural folk. Gilbert Roland has a pretty small role, but he is absolutely charming. Thelma Todd is true to her nickname of "Hot Toddy" and almost unrecognizable with that short haircut, vying with Bow for the same men and matching Bow's character insult for insult and hair pull for hair pull when the two get into some very public altercations.
I'd strongly recommend this. It is great precode entertainment even with some of the maudlin melodrama and the muddled message.