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This area contains an absolute GEM…which is the 2 disc THE Colossal Traipse from 1930(the 2008 Widescreen edition) and three lesser 1960’s era Wayne colour widescreen films. The Gargantuan Stagger is a must have for western, film or wayne fans and the three others are certainly fun later Wayne films that don’t add distinguished label to the package. I should add that earlier editions of these three films had nice / fun featurettes that have been elminated from this offering ..so if you have them I’d pick up the unusual Tall Wander on its occupy.

John Wayne didn’t really tame the wild, wild west; it impartial seems like he did. The man is larger than life and about as iconic as it gets. JOHN WAYNE - THE FOX WESTERNS doesn’t advance cessation to showcasing his best films, with two of the four - THE COMANCHEROS and THE UNDEFEATED - being merely passable fare. However, a third entry NORTH TO ALASKA is a good-natured, rollicking film, while THE Titanic Lunge is a itsy-bitsy known but historically momentous cinematic gem.

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Plenty to say about THE Mammoth Move. Assist in 1930, Marion Morrison was 23 years primitive and working as prop man on the movie lot when legendary director Raoul Walsh saw him and took an big chance. Marion’s name was changed to John Wayne, and he was given the lead in Walsh’s ambitious, sweeping western tale THE Enormous Lunge. Notice that even though director John Ford had already planted Wayne in several films, it was as an extra. Wayne was very raw here, in his first starring role; but that doesn’t mean he wasn’t favorable.

In THE Colossal Stride John Wayne plays Breck Coleman, a scout who guides a wagon deny of settlers 2500 miles, from the Mississippi banks thru the western wilderness to a remote valley beyond Oregon. All the while Coleman attempts to ferret out his best friend’s killers; he even finds time to romance the glowing pioneer girl Ruth (Marguerite Churchill) . One of the early talkies, this film is unruffled relevant today and contemporary enough in its sensibilities that you derive caught up in the chronicle, which is inviting and though-provoking and at times comical (I quite enjoyed the “Looks like barrels grow on trees around here.” sequence) . Even wait on then, most of the characters were already cliched, yet the sound performances pull it off - the shifty Southern “gentleman” who strives to tempt Ruth with talks of his plantation in Louisiana; the dirty, no-good have of a journey boss (Tyrone Power’s dad, by the map) ; Zeke, Coleman’s grizzled sidekick; the good-natured settler with the Swedish accent, brought in for rude funny relief and constantly bullied by his brutish mother-in-law. As Breck Coleman, John Wayne looks dashing in his buckskin outfit. His acting is glowing first-rate, even if the script calls for him to construct stilted speeches. When the settlers were wont to turn aid, here’s Wayne: “No, you’re not! We can’t turn relieve! We’re blazing a fling that started in England…” Even Duke’s natural acting style can’t invent that speech sound off-the-cuff. It’s also though-provoking to mark that, in his first Western starring role, John Wayne’s significant weapon is a knife, not a gun.

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Filmed in 1930, THE Broad Tear reportedly cost around 2 million to produce, and it shows in the product. This is an age-old western story: “Prairie schooners rolling west. Praying for peace - but ready for battle.” The film depicts these hardy settlers enduring backbreaking hardships and privations as they face murderous climates, unforgiving landscapes, Indian attacks, and dearth of water. This film offers gigantic spectacle and is as remarkable about the presentation of the frontier lands as it is the people. We are treated to several awesome sights here, as the caravan navigates risky terrain and fords treacherous waters. There are shameful losses, of human casualties and ruined covered wagons smashing against the face of the steep cliffs or being swept away like leaves on a raging river. Also worth taking in is the circle of wagons shootout with the Indians. In its sheer panoramic storytelling, this film cries out to be seen in widescreen. Remember, though, that this western is over three quarters of a century dilapidated, so it shouldn’t arrive as a surprise that the audio at times is inaudible or muted.

A bit about the failed experiment. In 1929 Fox Studios introduced the Fox Grandeur 70 mm widescreen process to the film industry. But, former to 35 mm sized pictures, most theaters abet then simply didn’t have the capability to present 70 mm films, and it would’ve cost too great to convert equipment. Factor in the Astronomical Depression, and the widescreen format unprejudiced never stood a chance. THE Immense Waddle never really stood a chance. Making the film truly was a massive undertaking, as each scene had to be filmed twice, for the 70 mm camera and for the 35 mm camera. To construct it even more painstaking, different casts had to also shoot the movie (respectively, for the German, Italian, and Spanish markets) .

Imagine the stones on Raoul Walsh, to grasp a chance on a nobody like John Wayne, who wasn’t even really an actor at the time. And imagine how powerful credibility and prestige Walsh lost when THE Great Stir flopped. It was equally devastating for John Wayne, as he was exiled into nine years of drudgery in B-western features and serials. In 1939, STAGECOACH came along and finally catapulted him to stardom. But, really, THE Substantial Drag should’ve done the job.

There are two discs here for THE Gigantic Trudge. Disc 1 has the mighty vaunted Fox Grandeur 70mm Widescreen Version of the film, with audio commentary by Film Historian/Author Richard Schickel and these very decent featurettes: “The Creation of John Wayne” which covers John Wayne’s early life and how THE Tremendous Slump impacted his film career; “Raoul Walsh: A Man In His Time” (as a homely trivia, you learn how he lost his legal scrutinize) ; “The Enormous Vision: The Grandeur Process” and “The Making of The Grand Hotfoot” (both intelligent) ; and a photo gallery. Disc 2 has the Academy Aspect Ratio 35 mm Burly Frame version of The Tall Slouch. I must mention that the bonus features on the dvds of the other included films consist of theatrical trailers and brief promotional movie spots. Shabby.

Thirty years later, in 1960, John Wayne starred in NORTH TO ALASKA, a rugged and boisterous comedy-adventure about worship and the Alaskan gold run. Having struck it rich in Alaska, George Pratt (Stewart Granger) sends his best pal Sam McCord (Wayne) to Seattle to score Jenny, George’s French bride-to-be. However, when McCord finds out that Jenny is already married, he ends up in the Hen House, a house of ill-repute, to drink his blues away. There, he meets the magnificent soiled dove Michelle (nicknamed “Angel”) who happens to be French (you contemplate where this is going? ) . A misunderstanding then crops up. Although McCord proposes to Angel on George’s behalf, Angel believes that McCord is the intended husband. And she falls for him. How do you say “awkward” in French?

This is the type of cinema John Wayne did occasionally to expose the world he can discover comedy straight in the gawk. In the same lighthearted vein as Hatari!, McLintock! (Authentic Collector’s Edition), and Donovan’s Reef, NORTH TO ALASKA is splendid laughable, in a robust sort of intention. Certainly, it gives the cast a chance to let their hair down. The film is bookended by two all-out, knock-down brawls, with plenty of laughs in between. Pop idol Fabian, here to lure in the teenaged girls, does his Rio Bravo (Two-Disc Special Edition) Ricky Nelson thing, even managing to assure a tune. Very gracious movie, this, with the Duke at his comedic cantankerous best. Capucine is pleasing.

1969’s THE UNDEFEATED is a sprawling chronicle starring the Duke and Rock Hudson. Place in the backdrop of post-Civil War, honest retired Union Army Colonel John Henry Thomas (Wayne), battle-weary and broke, gathers what remains of his primitive troops and head west to round up and then sell wild horses. There, they race into James Langdon (Rock Hudson), a venerable Confederate Colonel who is enroute to Durango, Mexico with his men and their families to construct a unusual originate. Threatened by marauders and Mexican rebels, the two expeditions are forced into an uneasy alliance.

- Mrs. Langdon (as Thomas returns from a palaver with a bandit, whom he was forced to ruin) : “You went out there to talk. Why did you have to shoot the man? ”

- Thomas: “Conversation kind of dried up, ma’am.”

THE UNDEFEATED may be the third best film here, but I liked it. It’s interesting enough and a bit dismal but also laughable. It lays out several rousing action-packed moments, yet it’s more than your typical shoot-em-up. I expected THE UNDEFEATED to be more somber and contemplative, what with the subplot about the North and the South, post-war. There is a bittersweet undercurrent to the film, and specifically coming from the Rebel side, as borne out in early scenes of the film. Hudson excels in scenes where he has to show restrained arouse and dignity in the face of abject defeat. But the film also holds a surprisingly jovial tone. There are even two treasure stories going on, one an interracial romance, the other keen Wayne’s more measured wooing of a Confederate widow. John Wayne and Rock Hudson reveal off some marvelous buddy chemistry here, and provide some humorous moments. Quit tuned for the cheery 4th of July fisticuffs, and fans of the musty L.A. Rams should be on the lookout for Merlin Olson (”Miniature George”) and, in a larger role, Roman Gabriel (”Blue Boy”) . Meanwhile, Lee Meriwether (only the best Catwoman ever) has a meager role, but Ben Johnson, that ragged hand, is as honorable as ever.

The film I like least in this collection is THE COMANCHEROS, which released in 1961. The area has a Texas Ranger (Wayne) spicy a gambler (Stuart Whitman) who is wanted for abolish. The two later join forces to foil a corrupt band of weapon smugglers called the Comancheros. Simply set aside, this film is forgettable. John Wayne is his usual exact self, but Stuart Whitman is not proper and has no chemistry with Wayne. This is nasty, considering the amount of scenes these two have together. THE COMANCHEROS is subpar John Wayne stuff; I unprejudiced don’t dig it.

JOHN WAYNE - THE FOX WESTERNS is a no-brainer, a must for admirers of John Wayne and fans of noble westerns. And three out of four films ain’t awful. It’s quite engaging to gaze the Duke metamorphose from acting infanthood (1930) to cinematic dotage (1960-1969) . The acting chops may not have been there at the initiate, but that huge presence was palpable from the get-go. Rating these products is so subjective. This one, I contain, merits four or five stars. And since I have such fond memories of THE Vast Tear and NORTH TO ALASKA, and even of THE UNDEFEATED, I’m gonna tumble five stars on this bunch of oaters. These films may not be considered the Duke’s most classic stuff, but they’ll do, yessir, they’ll do. Here’s to you, Marion Morrison.
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