BootDigest Such a frustrating disappointment

Platicsco Good story, Not enough for a whole film

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

JohnHowardReid For his initial all-talking movie, Victor Fleming directed Gary Cooper in a rousing version of The Virginian (1928). Although Cooper's account of the title role was both charismatic and convincing, acting honors were stolen by Richard Arlen, of all people, as the hapless Steve. Walter Huston as the evil Trampas also overshadowed Cooper. Mary Brian's somewhat colorless heroine proved no match for the male trio, although she did come into her own at the climax. Eugene Pallette and Chester Conklin were on hand for comedy relief, but fortunately this angle was not overplayed. Fleming not only kept the comedy under control, but accentuated the drama by adopting a remarkably free-wheeling style. In fact, Fleming emerges as one of the few major directors who was not frightened by sound, but continued to handle the script in a thoroughly filmic - rather than a stagy - fashion. (Formerly available on a 9/10 VintageFimBuff DVD).

Steffi_P The coming of the talkies is often looked on as a sad time, when silent stars were washed up, stalwart filmmakers tried and failed to fight the change, and movies in general became a little awkward. But for every tragic failure there was a success story, and there were just as many actors and directors who were able to adapt and even thrive in the new medium.One such star was Gary Cooper. Coop had been around a while, working his way up from bit parts in the silent era, eventually garnering a few lead roles but not making a huge splash. The Virginian was his third sound picture but it was the one to make him a star. The title role allows him to show off the two main facets of his appeal – an assertive (but not uncouth) manliness, and a charming shyness around the opposite sex. However it is the quality of his voice that completes the persona, one of the warmest and most trustworthy voices ever recorded. You would happily follow that voice into battle, or let it talk to your kids. Such is Cooper's effortless demeanour and naturalism, you could believe he is an old pro, and he shows none of the stiltedness associated with early talkie performances.On the other side of the camera we have director Victor Fleming, a man who has been largely ignored by film historians despite his importance, although thankfully that trend is starting to be reversed. Fleming did not compose the most elegant shots or weave in clever bits of symbolism, but his pictures are almost invariably excellent. His overriding principle seems to have been to never let the audience get bored. It's documented that Fleming coached his actors a fair bit, and it appears the main thrust of his coaching was to make them act at a snappy pace. There are few pauses in a Fleming picture, and sound is particularly useful to him, because we can hear the actors spit their dialogue at each other or punctuate the drama with gunshots and slammed-down whiskeys. Whenever a scene threatens to drag, Fleming literally keeps it moving. For example, when Cooper and co. first meet Mary Brian, the train she is on keeps chugging along, keeping some constant movement in the shot. Whenever the actors stand still, he has a horse or an extra trot past in the background.But Fleming is wise enough to know when to calm things down, and indeed the more sedate scenes have a greater impact after the usual flurry of action. When Cooper and Brian sit together among the trees, the only movement is the wind gently rustling their clothing, giving a quiet tenderness to the moment without quite allowing things to be completely still. The real highlight is the overwhelmingly poignant hanging scene, composed almost entirely of facial close-ups, highlighting the different emotions. The sequence seems eerily drawn out, but again without the drama slowing to a standstill.The view of the Old West we get in this version of The Virginian is not quite the romantic evocation of freedom tinged with danger that we normally see in the genre. While the picture does display a kind of moral simplicity (notice for example how all the good guys wear white, and the bad guys black, with the occasional moustache just to clarify) it is an incredibly mature and almost bitter portrayal. Fleming, Cooper and the rest of the cast have really brought out the tragic aspects of Owen Wister's novel, the sense of loss and betrayed friendship. But this is far from a melancholy meditation. They have also given punch and excitement to the presentation, something which works equally well for action sequences like the tense final standoff, as it does for dramatic scenes, such as the verbal showdown between Mary Brian and Helen Ware. You will not be bored for one minute. And who says the talkies were static?

Rich Drezen (Drezzilla) Gary Cooper delivers, with a formidable supporting cast, an excellent performance which struck a cord with audiences who had seen it way back when. Victor Fleming adds life and mobility to the camera that many directors were struggling to find through the cramped constraints of the early talking picture. Fleming knew that disc recording wasn't going to make it in the movies for much longer and decided to use the improved Western Electric sound-on-film system. $425,000 later, it proved a decision he was glad he had made. Mary Brian is gorgeous as the loved but lonely heroine from Vermont, stranded and alone in a world so wide open and unpredictable that Coop's presence (after much deliberation) proves warm and protective. Richard Arlen, who was billed way above Coop in "Wings" (1927) makes a fine supporting character in the role of Steve, a cocky cattle rustler thirsting for adventure in all the wrong places, much different from David Armstrong, the character he portrays in "Wings". This proves his ability to adapt to different roles, which is to me, a film-maker myself, one of the most important qualities an actor can possess. Such is the case of Walter Huston, who doesn't even LOOK or SOUND like Walter Huston here. Of all the actors in the picture, I think his performance is probably the best; his make-up, his voice, his devilish smile make him a formidable adversary for our man Coop. This picture deserves a DVD release for more reasons than I care to list, if only to lend itself to a new generation of an audience. If you happen to find it in any format, I hope you shall agree with me on at least giving it a DVD release.

kaplan79 "The Virginian" is one of the first well-known western "talkies." Released in 1929 and starring Gary Cooper who later became one of the great heroes of the western genre, this movie contains all of the archetypal elements of classic western films. There is a lone hero who answers to his own moral code defined by his environment(the frontier). A "schoolmarm" from out East comes to civilize the West through education, and her values come into conflict with the hero she falls in love with. And there is a villain who abides by no moral code, who must be defeated by the hero to uphold his honor and his values.The classic representations of good and evil through black and white are used extensively and effectively in this film. Cooper always wears white, the villain(Huston) always wears black. However, the most morally ambiguous character, Cooper's friend Steve, always wears a mixture of the colors, and as he continues down a dark path, his colors become darker and less ambivalent.This is a pretty good movie, particularly the hanging scene, the shootout at the end, and basically any interaction between Cooper and Huston. What makes the movie even more entertaining and fascinating to watch is its context. This movie is considered to be one of the very first westerns to represent the classic elements of the western genre, and its influence on later westerns is quite clear. For film students and fans of the western genre alike, this is a fun film to watch and thoroughly enjoyable. (Note: very interesting comparisons can be made to later westerns, particularly "Shane" and another Cooper film, "High Noon")