Yukon Gold: THE SPOILERS (Universal 1942)

What’s this?? A “Northern” Western set in 1900 Alaska Gold Rush territory starring my two favorite cowboys, John Wayne and Randolph Scott ? With the ever-enticing Marlene Dietrich thrown in as a sexy saloon owner? Count me in! THE SPOILERS is a big, brawling, boisterous film loaded with romance, action, and, most importantly,  a sense of humor. It’s the kind of Hollywood entertainment epic that, as they say, “just don’t make ’em like that anymore”. I’ve never been quite sure who “they” are, but in regards to THE SPOILERS, they’re right – and more’s the pity!

Rex Beach’s popular 1906 novel had been filmed three times before (1914, 1923, 1930), and would be one more time after (in 1955), but with The Duke, Rugged Randy, and La Dietrich on board, this has got to be the best of the bunch. Even though audiences were more than familiar with the story, which would be used time and time again unofficially (that is, stolen!) in lesser Klondike films, THE SPOILERS was a big hit, raking in over a million dollars at the box office (a hefty sum at the time!).

Prospector’s claims are being jumped by unscrupulous officials, chief among them new Gold Commissioner Alexander McNamara (Scott). Big Roy Glennister (Wayne), co-owner of the Midas Mining Company, returns from Seattle, smitten with pretty young Helen Chester, niece of new law’n’order Judge Stillman, who’s secretly in cahoots with McNamara. Cherry Malotte (Marlene), operator of The Northern Saloon and Roy’s gal pal, is jealous of the attention her man’s giving Helen, and flirts with McNamara. The two crooked officials make an attempt to wrest The Midas from Roy and his partner, crusty old Al Dextry, through legal chicanery, resulting in Roy jailed on a trumped-up murder charge. Cherry discovers the truth and assists in freeing Roy before the crooks can set him up to be killed, and the entire thing winds up with a knock-down, drag-out, four-minute saloon brawl (yes, I timed it!) between Wayne and Scott (and their stunt doubles Eddie Parker, Allen Pomeroy, Gil Perkins, and Jack Parker, to give credit where credit is due!).

Duke only gets third billing behind Marlene and Scott, even though he’s really the star of the show, mainly because he was on loan from Republic Pictures, while Randolph was under a Universal contract, and Marlene was… well, Marlene! Wayne and Dietrich were in the midst of a torrid affair begun while shooting 1940’s SEVEN SINNERS together, and you can practically feel the heat between them rising from the screen, giving the sexual innuendos they throw at each other (courtesy of screenwriters Lawrence Hazard and Tom Reed) a little extra zip! When Duke tells Marlene (use your inner John Wayne voice here), “I imagine that dress is supposed to have a chilling effect. Well, if it is, it isn’t working – cause you’d look good to me, baby, in a burlap bag”, his eyes tell you he means it!

Randolph Scott turns his syrupy Southern charm to The Dark Side, and makes for an oily villain. Scott had played shady characters before, but none as the out-and-out bad guy of the piece, and wouldn’t again until his last film, 1962’s RIDE THE HIGH COUNTRY. Another actor usually on the right side of the law, Samuel S. Hinds , is the crooked judge. Harry Carey (Sr) plays Wayne’s partner Dextry, mentoring the younger man onscreen much as he did off it. Margaret Lindsay gets the thankless part of Helen – sorry, but she’s no match for Marlene! Former D.W. Griffith star Richard Barthelmess does good work as saloon card dealer The Bronco Kid, who carries a torch for his boss Cherry.

Three Cowboys: Harry Carey, John Wayne, William Farnum

There are other interesting casting choices in THE SPOILERS. William Farnum , who starred in the 1914 original, is on hand as a lawyer on the side of the good guys. Hollywood’s perennial souse Jack Norton plays the town drunk, and gets to perform some heroics for a change! Robert W. Service, a real life poet who wrote about the Yukon Gold Rush days, has a brief bit as (what else?) a poet (you can read his most famous, “The Shooting of Dan McGrew”, by clicking on this link ). George Cleveland and Russell Simpson are a pair of grizzled old miners, and oh-so-many other Familiar Faces appear: Irving Bacon, Marietta Carey (as Cherry’s maid Idabelle), Willie Fung , weaselly Charles Halton, Bud Osbourne – happy hunting!


Director Ray Enright keeps the pace brisk and the comedy breezy, like when Idabelle runs into Roy wearing blackface – wait, I didn’t tell you The Duke appears in blackface? Don’t worry, it’s all part of the plot, as is when he comes out wearing one of Marlene’s feathery nightgowns. Wait, I didn’t tell you he appears in semi-drag, too? Well, if your appetite isn’t whetted enough by now to watch THE SPOILERS, then I guess there’s no hope for you. If it is, strap yourselves in, because you’re about to go on one hell of an entertaining ride!

The Art of Noir: Fritz Lang’s SCARLET STREET (Universal 1945)

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One of my favorite movies of any genre has always been SCARLET STREET. I used to watch the grainy Public Domain print on my local cable access channel over and over. When I saw that TCM was running the film last October, I recorded it for future reference, as I was in the midst of my “Halloween Havoc” marathon. I finally got the chance recently to sit down and enjoy this beautiful, crispy clear print and watch the film as it was meant to be seen.

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Meek, mousey cashier Christopher Cross receives a gold watch at a party honoring his 25 years of service to J.J. Hogarth’s company. Chris has done his boring, repetitious job without complaint, though his dream has always to be a successful painter. When Hogarth leaves the party, Chris watches him get into a car with a pretty young girl. Walking home with friend and co-worker Pringle, Chris muses aloud what it would be like to have the love of a young beauty. His  wife Adele is a ballbuster, constantly berating his art and lack of gumption, and unfavorably comparing him to her late policeman husband.

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Enter Kitty March. Chris encounters her getting slapped around by an unknown assailant (later revealed to be her boyfriend Johnny) and rescues her. They go for a cocktail, where Chris tries to impress her by passing himself off as a painter. Kitty, thinking he’s rich and famous, claims to be an actress. Johnny schemes to have Kitty string Chris along, playing him for a sucker. Gullible, lonely Chris now becomes a thief and embezzler in order to fund Kitty’s lavish lifestyle. Johnny brings Chris’s paintings to sell in Washington Square, where they’re snapped up by an art critic named Janeway. Believing he’s discovered a new sensation, Janeway tracks down Johnny to Kitty’s apartment, where he’s tricked into believing Kitty is the artist. Chris’s “modern art”, under Kitty’s name, becomes the toast of the art world. Things fall apart when Adele’s ex-husband shows up, quite alive, and demands to be paid off. Chris, finally free of Adele, can now marry Kitty. But the vixen cruelly rejects him, and Chris murders her, pinning it on Johnny. But Chris will never be rid of Kitty and Johnny, as we discover in the film’s haunting finale.

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Edward G. Robinson has one of his best roles as Chris. Henpecked, his dreams never fulfilled, Chris Cross is one of the most pitiful, heartbreaking characters in film noir, and Robinson pulls it off beautifully. Joan Bennett was never sexier or sluttier than here as Kitty. She’s cruel, lazy, and downright treacherous, without an ounce of kindness, the complete opposite of Chris. Dan Duryea is her man Johnny, giving one of his patented sleazebag performances. Even though he’s framed on a murder rap, I felt no sympathy for Johnny paying for his countless other, unacknowledged sins. Rosalind Ivan (Adele) is as good here as she was in another noir, Robert Siodmak’s THE SUSPECT. Jess Barker, Russell Hicks, Samuel S. Hinds , and Margaret Lindsay round out the excellent supporting cast.

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Fritz Lang’s  expressionistic direction is top-notch, and SCARLET STREET is (in my opinion) one of his top three films, right up there with METROPOLIS and M. Dudley Nichols’s screenplay was based on the French novel LA CHIENNE, filmed in 1931 by Jean Renoir. Of course, since “La Chienne” translates in English to “The Bitch”, the title had to be changed! (We’d have to wait til 1979 for a film with that title, starring the eternally bitchy Joan Collins) Milton Krasner’s B&W photography gives SCARLET STREET an atmospheric, melancholy mood, as does Hans J. Salter’s score.

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The paintings in the film are by John Decker, artist and notorious Hollywood reprobate. Decker was a talented portrait artist known for his drinking bouts with famous pals like Errol Flynn, John Barrymore, and W.C Fields. His paintings are certainly unique, and I’ll leave you with a gallery of some of his artwork:

W.C. Fields as Queen Victoria
W.C. Fields as Queen Victoria
Errol Flynn
Errol Flynn
Harpo Marx as The Blue Boy
Harpo Marx as The Blue Boy
John Wayne
John Wayne