Review of How the West Was Won (1962) by Cameron J — 08 Jun 2012

Not be mistaken for the Led Zeppelin concert album, nor some movie called "How Weed Won the West". You'd think that it would go without saying that this film shouldn't be mistaken for the latter, but you'd be surprised how much I've happened across that film that doesn't even have a Wikipedia article while looking up this film. Still, it remains quite possibly the only thing with a title similar to that of this film that's more obscure than the.

TV show from the '70s, and that thing can only be found on DVD in Europe. Poor Bruce Boxleitner just can't catch a break, because if "Tron" didn't launch him into stardom, then lord knows that show wasn't going; but at least he's doing better than Richard Kiley, whoever that is, and I'm not just saying that because he's dead, because his career can only get more notice from here. I guess from the standpoint of having a cast of known performers, that show was anything but faithful, because this film is stuffed with then-big stars, seeing as how that was apparently what you did for most every epic back in the early to mid '60s. I guess I can't blame people for that, because they were stars for a reason, that is because they knew how to carry a film, even if they weren't the only thing that made the film good. Most female stars, on the other hand, couldn't act to save they're lives, so they were only famous for being attractive in a kind of starlette way that has dated so phenomenally, it's unreal (I'd still consider Marilyn Monroe's kind of starlette look hot, though), yet they're acting was never the only flaw in a film from back then, and while the bad actresses are actually rather lacking in this film, if they were here, they would still certainly not be the only issue in this film.

The film wastes no time in slipping up on a fairly amateur level, with the first segment being riddled with repetition and absurd melodrama attached to an already structurally unbuyable romantic subplot. Still, the flaws only begin there, with others spilling right on in quite quickly upon the first of many painfully jarring segment transitions that repel you so far out of the film that it takes a little while to lock back in. Still, even when you do get a grip on the film again, you're still knocked back by flaws that are actually consistent between segments. While some romantic subplots are considerably more believable than others, just about every bit of romance - of which, there's more than you think -, as well as some other dramatic aspects, is swimming with melodrama, some of which is dismissable and some of which is downright painful. Another flaw that I earlier stated to have been unveiled within the first segment is repetition, as the film will often plague itself with familiar material, some of which is also found scattered all throughout each segment as yet another overly consistent aspect (Seriously, how many men are gonna propose to women they hardly know?), thus creating a blow to steam, intensified by the occasional piece of rushing, which can serve as a component to the film's ever so occasional, yet still rather overbearing matter-of-fact approach to some of the more history focused moments in the film. Indeed, the film is a sprawling mess of clunky dramatic aspects and repetition, and yet, the west isn't the only thing won in this film, as you would be rather hard pressed to find yourself ultimately won over by the film. Trust me, what I just said isn't as cheesy as this film gets to be, yet the picture, with all of its faults, really keeps you going, and does so with the help of, well, some pretty good tunes.

The original songs are pretty top-notch, reflecting the tones and themes of the picture and standing as an absoulte joy to hear, even if they're only to be found at the intermission and bookends of the film. Music more prevalent and just as memorable is the score work of Alfred Newman, who may not be knocking things out of the park like he did with something like a then-later-to-arrive "The Greatest Story Ever Told", yet is still delivering on a sweeping, lively score that really sets the tone of the film, while making it an engrossing experience to hear. What makes it an engrossing experience for the eyes is the work of the myriad of cinematographers, all of whom deliver quite the number of then-innovative and now-still remarkably brilliant concepts of dizzingly elaborate and immerisve camera staging that gives the film the scope and transportive value needed to help sell the worldly dynamicity within this perhaps too heavily layered story structure, as well as enhance the thrills of some pretty fantastic action sequences, especially the train climax, which is nothing if not nothing seen then or hardly anything seen nowadays. This is a sweeping production for worthy subject matter that may go hurt by the spotty script, yet is generally well-structured and thoroughly charming, as well as entertaining. For this credit not only goes out the writers and directors, but also the star-studded cast of classic charismas. There is the ever so occasional performance that's not all that up to par... and I they're all delivered by the actresses, yet on the whole, every Joe Schmo and lady of the screen brings charisma to the screen, as well as some chemistry that may be hurt by the melodrama and some far-fetched choices in pairing, yet pulls through, more than it runs thin. This massive cast is merely one of the many key aspects to this film's pulling through all of its spottiness and fall-flat moments and ultimately coming off as, well, winning.

In conclusion, the film faces jarring transitions between segments, yet still much consistency in melodrama and repetition, as well as degree of rushing and too much of a matter-of-fact tone on occasion, yet the film still "wins" you over, powered by worthy, sweeping subject matter, complimented by a lively score and stellar cinematography, as well as thorough charm, powered by across-the-board charismatic performances among the colorful all-star cast, thus leaving "How the West Was Won" to stand strong as a grandly entertaining and generally compelling classic piece of a collaborative epic.

3/5 - Good.