Modest but enjoyable
Producer Walter Mirisch (left) had already done two Westerns with Joel McCrea, Wichita for Warners in 1955, a classy Jacques Tourneur-directed oater with McCrea as Wyatt Earp, and the slightly more pedestrian but still entertaining biopic of Sam Houston The First Texan for Allied Artists in ’56. The contract called for three films. The Oklahoman was released, once again by AA, in May ’57. Later McCrea would re-sign with Mirisch for The Tall Stranger (November ’57, also AA – of course Mirisch was a leading light in the studio), and The Gunfight at Dodge City (United Artists, 1959). They were all good Joel McCrea Westerns, and as such extremely enjoyable, but it is probably fair to say that The Oklahoman was not the greatest of them.
The Oklahoman is a modest-budget ‘town’ Western, with the emphasis on character and human interest rather than action. That doesn’t mean it was weak. McCrea was never weak, and he was, once again, supported by a very strong cast of old-faithful Western character actors. The always entertaining Brad Dexter is the bad guy, Michael Pate is an Indian (obviously), Anthony Caruso is his friend and Ray Teal is a leading townsman. And the love interest is provided by Barbara Hale. It’s a good line-up.
French poster, with silly title, makes it all very passionate and dramatic but it isn't, really
Still, The Oklahoman was in color and CinemaScope (like Wichita). It was no cheapo B-movie. It was nicely shot by Carl E Guthrie, who would also be the DP on The Gunfight at Dodge City and épisodes of McCrea’s Wichita Town on TV, with Californian locations standing in well for Oklahoma. The Warners’ Archive Collection DVD is good. There’s some pleasant music by Hans Salter. And if modest in scope, the movie still had some classic Western moments, such as a last-reel quick-draw showdown on Main Street between Joel and Brad.
Joel looks a bit like Matt Dillon in this one
Like Wichita and The First Texan, it was written by the more-than-competent Daniel B Ullman, who also worked on the likes of Return of the Bad Men, The Arizona Ranger, Fort Osage, Kansas Pacific and other rootin’, tootin’ ‘n’ shootin’ oaters.
McCrea excelled at the affable, peaceful hero who reluctantly but efficiently gets tough when the going does, and this is exactly the character he has here. He is a doctor, John Brighton, on his way by wagon train to California in 1870, whose wife dies in childbirth, leaving him a widower with a baby daughter to bring up in the small town of Cherokee Wells, Oklahoma Territory. He very quickly establishes himself as decent doc, loved by all, and there are scenes verging on the bucolic as we see how universally he is admired. Of course the Decent Doc is a well-known figure in Westerns.
Dexter plays cattle baron Cass Dobie. He’s one of those ruthless ranchers we know so well, the ones who want the whole valley. He already has enough land for his cattle but he is after the oil, you see. The good doc is very slow on the uptake about this, but fair enough, I suppose. It was 1870 after all, a quarter of a century before Oklahoma oil became a thing. Universal’s Joe Dakota would be released six months later, so oil-based skullduggery Westerns were becoming rather à la mode.
Brad would soon be magnificent as seventh recruit (also for Mirisch)
Decent doc treats Indian Charlie's son while his daughter (Talbott) looks on
Good in Westerns
You can spot eternal baddie Bill Coontz as a Dobie henchman, and, if you don’t blink, the likes of Harry Lauter and Kermit Maynard as townsmen, as well as other recognizable Western faces.
There’s a party with a barn dance in which Brad does a lively turkey-trot with Gloria. He ends it by insulting the doc and it nearly comes to fisticuffs but the news of the death in the oily pool of brother Mel puts a stop to that. It's only postponed, though...
Which will he go for?
Indian servant girl?
As Cass says threateningly, Charlie is going to pay, one way or another. There’ll be an inquest and the decent marshal (John Pickard) wants to do the right thing but whatever the juridic result, the ruthless rancher is going to get revenge. When Cass and the doc finally do get to punching each other out, and Doc wins, the townsmen warn the medico that Cass is gunning for him. Doc Brighton straps on a not very hippocratic Colt now and the showdown looms…
All good stuff - a bit on the mild side, perhaps, and certainly no thrilling, sprawling A-Western. But it has a lot in its favor, not least in showing the Cherokee people as civilized and integrated yet still put-upon and discriminated against, and because of some excellent performances from fine Western actors, notably McCrea himself as, once again, a decent upstanding Western hero.
It reminds us a bit of Strange Lady in Town, not yet reviewed, a 1955 Warners Western with Greer Garson as a lady doctor setting up in Santa Fe in 1880, with racism replacing the misogyny Greer’s doc had to combat. Worthy themes but not exactly thrilling. Having a quartet of women was rather good, though, two young ‘n’ glamorous, two old and amusing.
It isn’t quite clear why the mild doc in his 50s (McCrea was 52) would have all these women falling at his feet (in the case of la Talbott literally) but he was Joel McCrea, I guess, and still pretty handsome. He is slow on the uptake about these women too (a bit plodding, our doc) and it takes him ages actually to realize that they fancy him. You wouldn’t call the relationship between the doc and rancher Anne electric, exactly.
You gotta see it. It’s a Joel McCrea Western after all. But don’t expect too much, just an enjoyable 80 minutes.