The Squaw Man

As all film buffs know Cecil B. DeMille's first version of The Squaw Man was the very first film done in what we now call Hollywood. He did a second silent version and for his third film on his MGM hiatus from Paramount he did it once again.

Third time was not the charm. Although the actors, especially Warner Baxter as the disgraced English Earl who goes to the American west and meets, weds, and beds an Indian maiden, Lupe Velez are competent and sincere the film is terribly dated. Depression audiences simply were not interested in a Victorian morality tale with a dose of the British stiff upper lip.

It all sounds so quaint and ridiculous. Baxter is accused of embezzlement and he knows who the culprit is, but won't inform because he doesn't want to disgrace the other guy's family. So with admirable rectitude he heads west and make a new life in America.

He also manages to make an enemy of Charles Bickford who was another rancher who covets his land. But Baxter finds love with Lupe, as did most of Hollywood in real life, and he has a son who will in fact inherit his title.

Cecil B. DeMille was a child of his time. Melodramas like The Squaw Man was the stuff that the legitimate theater did when he grew up and learned his trade from David Belasco.

But audiences weren't buying it in 1931, people had real issues about where the next meal was coming from and could they find work. A story about some Victorian honor code just wasn't marketable.

It's a sincere film though and it might be worth a look to judge what public tastes were at the turn of the last century and before the Roaring Twenties.

An English aristocrat becomes 'THE SQUAW MAN' after leaving Britain under mysterious circumstances and marrying an Indian maiden in the American West.

At the end of the Silent Era, famed director Cecil B. DeMille signed a deal with MGM to produce three pictures over three years. For the first two--DYNAMITE (1929) and MADAM Satan (1930)--he pulled out all the stops to present lavish photoplays of New York high society, with a mine cave-in and a dirigible disaster to liven things up.

For his third film at MGM DeMille returned to his favorite story, which he'd already filmed twice before as a silent. For this talkie version he kept the story simple, without special effects or unnecessary melodrama. He also made outstanding use of filming on location in Arizona. The result is a well-made film with a poignant storyline and an emotionally gripping conclusion.

While Warner Baxter's American accent makes him rather unbelievable as an Englishman, this can be easily overlooked because of his fine performance. Steadfast & strong, he makes a sturdy hero. But acting honors go to Lupe Velez, who strips away all unnecessary technique & mannerisms to deliver an uncomplicated, heartbreaking portrayal of a primitive woman wholly devoted to the man she adores and their son. Without even trying, she completely dominates the film.

The rest of the cast also make their mark in much smaller roles: beautiful Eleanor Boardman as the titled Englishwoman Baxter loves; owlish Roland Young as Baxter's best friend; shifty Paul Cavanagh as the feckless Earl of Kerhill; and Julia Faye as a fox hunting American widow.

Out West, the cast includes angry Charles Bickford as a murderous rancher intent on grabbing Buzzards Pass from Baxter; bullying DeWitt Jennings as the corrupt sheriff of Maverick; J. Farrell MacDonald as Baxter's loyal ranch hand; and little Dickie Moore, one of the OUR GANG kids, as the lively son of Baxter & Velez. Wizened old Luke Cosgrave gives a few humorous moments as the cantankerous driver of a desert jalopy.

DeMille's sojourn at MGM was not a commercial success for the Studio. His contract wasn't extended and he returned to Paramount, where he would soon commence on some of the most popular films of his career.

It's not exactly perfect that a Mexican-American actress, Lupe Vélez, is plugged in as a Native-American in the third and final version of this film, but it's better to see her than someone like Myrna Loy (no offense Myrna, you know I adore you). And in addition to seeing a person of color in a dramatic and romantic role, the side benefit is that unlike most of her other films, Vélez's character is not some high-strung Latina who has to have a scene or two of animated screaming. Here her character is quiet, doleful, determined, strong, and caring, giving us another side of her as an actress, and her performance is at least as good as the other films I've seen her in, if not better. After being saved by a transplanted Englishman (Warner Baxter) from being assaulted in a saloon, something that would likely have led to rape, her character returns the favor with steely resolve by saving him not once but twice. Vélez has several fine scenes, one of which is when she's in front of the fireplace on a stormy night, radiating soft sensuality. Later she has a perfect reaction to her young son wanting to play with his new train set more than her traditional, handmade horse. It reflects the timeless clash of cultural assimilation, and immigrant parents with kids more drawn to the newer culture they are surrounded by may identify. In several moments throughout the film, Vélez's emotions are conveyed silently through her eyes, and they're all pretty compelling.

Unfortunately, there are also aspects of the character that are harder to like, starting with the broken English she has to speak. It may have been the reality for such a character, but here it's so slow and awkward, and not accompanied with enough other nuance that might help us see that she's just as intelligent despite not being fluent in a second language. And that's at the heart of the issue - the film puts her in a positive light, but it's in a condescending, paternalistic way. She can be attractive, strong, faithful, and a great wife and mother - but she can't be just as smart or the equal of her husband. This culminates in the film's absolute worst moment, when he decides to send their son off to England to get a better education and to have more opportunity, essentially ripping the boy from his mother over her objections. It would be too easy and simplistic to equate this to the heartless and cruel policies of the current American administration at the border, but I have to say I thought of it, and that's not exactly a selling point for the movie. As he talks about this to his friend, he mentions his wife is "primitive" and simply can't understand the British Empire, which was disgusting. It's a white man's world, and as Vélez is neither, she is two steps down in it.

At least the film shows the emotional impact this has on her (in another fine scene from Vélez), and sympathizes with the happy life she's lost in the final images. I also liked how her husband stands by her and refers to her as Mrs. Jim Wingate despite challenges from bothersome locals, and the reappearance of his old (Caucasian) flame (Eleanor Boardman). The film is actually showing us a happy interracial marriage, something that was dangerous and still illegal in many states.

Overall though, it's a little rough going because of the racism and sexism, even if they are milder forms of it, and I debated a lower rating. However, the film scored enough points with me, and exceeded the expectations that I had formed based on its awful title. If you're disenchanted early on, have patience; the only saving grace to a creaky start in England which suffers from a slow pace and poor audio quality is Boardman, who plays her earnest but conflicted role well, and is also quite pretty here. Once the action moves to the American West, Director Cecil B. DeMille tells a good story, one with inevitable conflicts for this couple, and gets some nice shots on location in Arizona. I also loved seeing Dickie Moore, who is just adorable as their son.

This is the worst film that DeMille ever made ( at least those that I saw). It is boring, and simply does not work as a Western ( the Coca Cola placement came to mind). Perhaps if the scenes in England were cut and more Lupe Velez were shown I would like it better? Speaking of Lupe although she played an Indian (Naturich), she looks more gypsy then anything else, but she was much better then anyone else. Especially Warner Baxter who was better as a Mexican ( In Old Arizona) then an Englishman in this movie ( sort off like William Powell in 'The Key' does not work). Although I am no fan of this movie, it is worth watching because of Lupe Velez and because all three of his ( DeMille) movies at MGM ( Dynamite and Madam Satan are the others) are rarely shown.3 of 10 stars.

The Squaw Man (1931)

** 1/2 (out of 4)

This here was Cecil B. DeMille's third attempt at telling Edwin Milton Royle's play. This time out it's Warner Baxter who plays Jim Carston, a British man who is ran out of his country so he heads to the United States and out West. Once there he crosses a rival landowner but things take a turn for the worse when he falls in love with an Indian woman (Lupe Velez), which is a big no-no. This version from DeMille offers up a terrific cast and I think the racial issues are a lot more out front here but I really can't say that this was any sort of improvement over the 1914 version, which I've seen. All but the last reel is lost from the 1918 version so it's impossible to compare all three but this third version features quite a few problems. I think the film's biggest problem is the pacing because at times it moves along at a very slow pace. This includes the early stuff in Britain, which could have been completely left out and I think it would have helped. I also thought some of the stuff in the West dragged during spots but there's no question that the film is still worth viewing for the performances alone. Baxter was extremely good and believable in his part and there's certainly no doubt that he fit the tough guy role just fine. Charles Bickford is excellent as always and we get nice support from Roland Young, Paul Cavanagh and a young Dickie Moore. Velez easily steals the show as she's terrific in each scene she's in. Her beauty is on full display and while I'm sure some might be offended by the way the Indian is played, I thought the performance itself was very good. DeMille delivers a decent picture but at the same time one can't help but wish he had left this alone and attempted something else.