The Virginian (1929) User Reviews

early archetypal western

[kaplan79 · 8/10 · 8 June 1999]

"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")

Dedicated To His Friend Theodore Roosevelt

[bkoganbing · 8/10 · 21 September 2007]

Although I particularly like the 1946 version of this classic western story with Joel McCrea, this 1929 version of The Virginian has a lot to recommend it, not the least of which is Gary Cooper in the title role.

From the first silent version of the story that Cecil B. DeMille directed until a 2000 made for television film that starred Bill Pullman as the cowboy who's only known by the state he originally hails from, this is the story that set the standard for the western novel that has come down to this day. Owen Wister (1860-1938) was a classmate and close friend of Theodore Roosevelt and when the book came out in 1902 it was dedicated to the new president who was in his second term of office.

Both Wister and Roosevelt were easterners who had gone west at critical portions of their lives and made careful note of the mores and customs of the people living there. Roosevelt went to the Dakota territory and Wister was in the new state of Wyoming just in time to view the famous Johnson County range war. It certainly was a period where certain folks did make up their own version of the law out in Wyoming and in this Wyoming setting of The Virginian as law and order was usually days if not weeks away, lynching lawbreakers was an accepted if not honored practice.

And that's what happens in The Virginian as Gary Cooper catches old friend Steve played by Richard Arlen rustling cattle of the Box H ranch where he is foreman. It's unfortunate that he did not catch gang leader Trampas played by Walter Huston, but the incident sets the scene for the inevitable western showdown.

There was western literature before The Virginian, popularized by writers like Ned Buntline. They were called 'penny dreadfuls' as a commentary of their cost and worth. Usually they took real western characters and made up these fantastic unreal stories about them. Real western historians in fact are still trying to separate truth from myth about all these people because of these stories.

Wister was a careful chronicler of what he saw and what he saw set the standard for later writers like Zane Grey, Louis L'Amour, Luke Short, etc. All the western clichés we've grown to expect in films got their start right here.

The Virginian set the standard in literature and film for a whole genre of entertainment. Any version of the story should not be missed.

Very early "talkie" western with Gary Cooper

[alv790 · 25 November 2020]

Very early "talkie" western, and Gary Cooper's first sound film, the one that started him as a big star. It follows Owen Wister's classic novel of the same title, although in a more streamlined fashion. All the big moments in the book are here, but the book is a sprawling epic, and in the movie everything is more rushed, including the romance between the foreman and the schoolmarm. In general, there's much more time for character development in the book.

Here, the narrative is always direct and to the point, never losing sight of what needs to come next to get to the end. The scenes are short, in a blunt style that reminds of the silent era rather than of more modern movies, but that's part of the charm when you watch it now, almost a century after it was filmed. Nevertheless, Victor Fleming makes good use of the newfound ability to use dialogue to tell an effective story.

The quality of the prints that have reached us is not perfect, but good enough to appreciate this early western, from just when Hollywood was starting to use synchronized recorded sound.

The Virginian (1929)

[fntstcplnt · 6/10 · 14 September 2019]

Directed by Victor Fleming. Starring Gary Cooper, Mary Brian, Walter Huston, Richard Arlen, Eugene Pallette, Chester Conklin, Helen Ware, E.H. Calvert, Victor Potel.

Virginia-born cowhand Cooper woos schoolmarm Brian in small Wyoming town, tangles with roughneck outlaw Huston. First talkie for both Cooper and director Fleming, adapted from the book of the same name (considered one of the first true western novels), which had already been turned into a play and a pair of silent movie versions. Cooper struggles with the accent, but cuts an upright, stoic figure even this early in his career; Huston is barely recognizable but makes the grade as an appropriately hissable black-hat. Uneven pacing in the first half, including a few obvious instances of padding (such as the baby-swapping prank), gives way to more compelling later episodes, including a harrowing resolution to a difficult decision the protagonist makes in regard to some cattle rustlers. Even in its restored format, the picture and sound quality of current prints is somewhat lacking, but the movie is still a worth a watch for anyone who enjoys old-timey oaters.

62/100

Showdown at Sundown

[lugonian · 7/10 · 2 October 2016]

THE VIRGINIAN (Paramount, 1929), directed by Victor Fleming, from the popular 1902 story by Owen Wister, stars Gary Cooper in his talking movie debut. Having made an impression with theater audiences in a small role from the silent World War drama, WINGS (Paramount, 1927), that earned the distinction of becoming the first Academy Award Best Picture winner, Cooper was soon elevated to leading roles in other silent features, some being westerns, before a whole new career opened for him when his spoken voice was heard for the first time. As the title character, Cooper's success in talkies was assured, even without an Academy Award nomination for a western role that was honored earlier to Warner Baxter playing The Cisco Kid in IN OLD ARIZONA (Fox, 1929).

The plot development set in Wyoming introduces the nameless cowboy known to all simply as The Virginian (Gary Cooper) mainly because he's from Virginia. Working as a foreman of the Box H Ranch near Medicine Row, his best pal, Steve (Richard Arlen), a free-spirited cowboy, believes there's a better way to earn money than working. It so happens that, unknown to the Virginian, Steve is connected with Trampas (Walter Huston, in traditional villain role of thick mustache and dark hat) and his gang of cattle rustlers. Arriving from the Union Pacific train is Molly Stark Wood (Mary Brian), the new schoolteacher in town. Her beauty finds The Virginian and Steve rivaling for her affection. At first Molly dislikes The Virginian and devotes her attention to Steve, even with these two acting like little boys playing jokes on one another. Eventually the laughs come to an end as Steve, Pedro (Charles Stevens) and Jim (James Mason) are caught by a posse for cattle rustling, forcing the Virginian to take leadership in their hanging execution the next morning. Before Steve dies, he leaves The Virginian his name engraved gun. Because Trampas is responsible, The Virginian sets out to get him, but on the very day of his wedding to Molly, Trampas threatens the Virginian to leave town before sundown, causing the future groom-to-be faced of being branded a coward or forced to go against Molly's wishes and risk losing her by going on the one on one showdown with Trampas. Others in the supporting cast include: Helen Ware (Mrs. Taylor); Eugene Palette (Honey Wiggen); Chester Conklin (Uncle Hughey); Victor Potel (Nebrasky); George Chandler, Ed Brady and Nena Quartero in smaller roles.

Regardless of its age and familiarity, THE VIRGINIAN is an oldie but a goody. "When you call me that, SMILE!" and "Get out of town by sundown" are the film's most famous quotes. Notable scenes include the Virginian and Steve's greeting each other to the whistling sound of a quail; Molly's reaction to her schoolroom of children singing "Three Blind Mice" off-key; Virginian and Steve switching infants in separate room prior to their christening; The Virginian's reaction when having to participate in Steve's execution and hearing an actual quail's whistling prior to it; tense moments between the Virginian and Trampas, among others. Unlike early talkies of the time, THE VIRGINIAN is well paced for 90 minutes, and refrains from actresses, mainly Mary Brian, from overacting in the silent film tradition by allowing her to give a more natural performance. Aside from scenes set in bars or hotel rooms, much of it outdoor scenery appears authentic rather than a closed set with phony painted background. THE VIRGINIAN may seem strange to contemporary viewers where underscoring is non-existent, unless one counts the mooing sounds of cattle steer heard during the opening credit titles. Unlike some early talkies, there's no inter-titles depicting what's to take place in the next scene to come.

Next to The Marx Brothers comedy, THE COCOANUTS, THE VIRGINIAN seemingly appears to have been the only other Paramount theatrical release from 1929 made available to broadcast television with frequent revivals in the sixties, seventies and onward, indicating its popularity decades after its initial release. When distributed to video cassette in the early 1990s, the clam-shell box labeled the 1929 edition as the original version, overlooking the fact that there were two earlier silent editions that preceded it: 1914 (Dustin Farnum) and 1923 (Kenneth Harlan). Paramount remade the newly Technicolor and underscored edition of THE VIRGINIAN (1946) starring Joel McCrea, Brian Donlevy and Barbara Britton in the Cooper, Huston and Brian roles, with more emphasis on Molly than on the titled character. THE VIRGINIAN also became the basis of a television series starring James Drury in the 1960s.

Unseen on cable television since its presentation on American Movie Classics (1994-1999), THE VIRGINIAN (1929), along with other frequently shown screen adaptations as the 2000 TV movie, turns up occasionally on Encore Westerns, most commonly after sundown where programs directors smile when they do that. (***)

Solid, provocative western that belongs on DVD!

[DrezenMedia · 10/10 · 22 March 2006]

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.

"A man's got to do what a man's got to do...

[planktonrules · 6/10 · 28 January 2016]

While "The Virginian" is a bit less enjoyable due to it being a very early and old fashioned film, it is worth seeing and helped to make Gary Cooper a star. When I say it's old fashioned, it's because early sound pictures tended to have little incidental music and the films aren't as polished as films made by Hollywood just a couple years later. This is definitely the case with this film...plus like so many later westerns, much of the story creates a mythic version of the West that never actually existed.

Soon after the film begins, the new school teacher, Molly, arrives from back East. The Virginian (Cooper) is smitten with her but she is a bit difficult to get to know due to her eastern ways. Eventually, however, they start to like each other...and this is damaged by the Virginian going off on a posse to catch cattle rustlers. This is because one of the rustlers turns out to be his friend, Steve (Richard Arlen)...and Molly blames the Virginian for the posse hanging Steve. However, they soon patch things up and are on the way to a happy marriage...when the leader of the rustlers, Trampas (Walter Huston) arrives in town and promises to shoot the Virginian if he's not out of town by sundown! I strongly doubt that anyone EVER said that in real life....but in films, sure, why the heck not! What's next? See the film.

The acting isn't bad but a bit subdued...like ALL films from 1929. They tended to be a bit more stagy than later films but despite its limitations and clichés, this film is quite watchable and well made for the era.

An artful early talkie western

[AlsExGal · 8/10 · 30 April 2011]

I have to admit, the Western genre usually isn't up my alley, but this one grabbed me when I saw it as a teenager on Christmas break in 1973, and so when I saw it was for sale on DVD-R I bought a copy. My memories did not deceive me - it is still a very good Western whose technique is seemingly unencumbered by the youth of sound technology in 1929.

Some things are rather obvious Western clichés, such as the fact that the hero - The Virginian (Gary Cooper) - is always wearing a white hat and generally a light colored shirt. Trampas (Walter Huston), the villain, is always wearing a black hat and black shirt and has a kind of Yosemite Sam black mustache that is so large and cartoonish that Walter Huston is almost unrecognizable underneath it. Steve (Richard Arlen), the Virginian's friend, starts out wearing gray looking clothing. This indicates Steve is no hero but not an outright villain either - he just longs for some easy money. He wears more and more black as Trampas seduces him with the possible big scores of cattle rustling. Then there's the famous line "Smile when you say that" uttered by the Virginian to Trampas. Many people think that line originated here, but it was used in westerns before this. Among those that still exist there's 1925's "Go West" with Buster Keaton being given this command and who would comply if only his facial muscles would let him.

However, Paramount, the studio that in the early talkie era employed Lubitsch, Chevalier, and Dietrich and made so many sophisticated precodes was also capable of making one of the best of the early sound westerns. The emotions here are real - including the hanging of some rustlers, some who meet their end with courage and others who meet it with cowardice. Those hanging them are without malice - it is just something they have to do or else they'd be overrun by the lawless and starve to death.

Civilized America is symbolized by schoolmarm Molly Stark (Mary Brian), imported from Vermont to teach the pioneers' children and increasingly horrified by the savagery of the place. She just doesn't get that you can't expect some imaginary police force to come to your rescue. The romance between her and the Virginian has many parallels in "High Noon" made 23 years later.

Not to say this one is all serious though, there are plenty of laughs to be had especially in the first half of the film. Especially charming and funny is the scene where Molly and the Virginian discuss Romeo and Juliet with the Virginian giving insight into the soul of a pioneer with his interpretation of the story. Then there's Eugene Palette as a cowpoke. Palette like Cooper had been around during the silent era, but the coming of sound increased their value as performers. I'd recommend this to fans of the early talkie whether Westerns are normally of interest to you are not. This is really a good and interesting film.

An Excellent Performance by Gary Cooper

[Uriah43 · 7/10 · 23 August 2023]

This film essentially begins with a cowboy known only as "the Virginian" (Gary Cooper) riding into the town of Medicine Bow, Wyoming and meeting an old friend named "Steve" (Richard Arlen). Naturally, wanting to hear how each of them have been doing, they both go into a nearby saloon to have a drink and remanence. While there, however, the Virginian gets into a argument with an hombre by the name of "Trampas" (Walter Huston) which almost ends in a gunfight. Fortunately, Trampas backs down and everything returns to normal. Not long afterward, an attractive woman named "Molly Stark Wood" (Mary Brian) arrives by stagecoach which quickly captures the attention of both the Virginian and Steve. To that end, a rivalry of sorts breaks out between them but, being good friends, neither of them become angry with the other. Their friendship, however, is sorely tested when Steve starts hanging out with Trampas-and things begin to get much worse from that point on. Now, rather than reveal any more, I will just say that I was pleasantly surprised at how good this film was--especially considering the year it was produced. Of particular interest was the dramatic scene involving the Virginian and Steve which clearly highlighted the acting abilities of Gary Cooper. Having said that, I will admit that this film is extremely dated and, for that reason, some allowances need to be made. Be that as it may, I enjoyed this movie and I have rated it accordingly.

Early "talkie" wastes great cast

[adrianovasconcelos · 5/10 · 14 February 2021]

To be fair, this film was shot in the infancy of sound movies and its technical quality is understandably poor. Photography rates rather shabby - which I find less understandable because by then quite a few films already displayed high quality cinematography.

Dialogue also reflects the woes of early sound, and that does nothing for the standard of acting, which I found disappointing.

Only Huston delivers as the villainous Trampas, a word which significantly means "traps" in Spanish. The man is devious and dangerous, darn it!

The very young Gary Cooper, later to become one of Hollywood's most glittering names, does his best but cannot save this mediocre flick.

"This country sure is getting fancy"

[Steffi_P · 9/10 · 15 February 2010]

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?

Seems like a silent movie

[HotToastyRag · 3/10 · 22 September 2018]

The Virginian reminded me of an old "I can't pay the rent!" melodrama. Gary Cooper is the romantic hero, with an enormous amount of eye makeup and an "aw shucks" demeanor that's supposed to win the girl over. The simpering heroine is Mary Brian, a new school teacher in the small western town. She has no character development and easily transfers her affections to whichever guy happens to be around. Walter Huston, with an enormously fake mustache plastered to his lip, is the villain, who actually utters the line, "I'll give you 'til sunset to get out of town."

The movie was made in 1929, so what more do you want? In this very early talkie, it's easy to imagine it as a silent film, with an afternoon of reshoots to record some dialogue. If you pressed mute, you'd still get what was happening in the movie. You can give it a whirl if you think Gary Cooper was cute when he was younger, or if you like silent westerns. If you're careful, you can catch Eugene Pallette in an early role, as well as Randolph Scott in a cameo!

Gary Cooper's The Virginian is old-fashioned but still charming

[tavm · 8/10 · 9 August 2006]

Trampas:"I'd tell you something if I'd wanted you to know you long-legged son of a-" The Virginian:(pulls his gun) "When you say that to me,smile!" Trampas:(smiles) "When there's a gun next to my belly, I...I always smile! Ha, ha, ha, ha!" This is one of the most legendary lines in Western movie history as exchanged between Gary Cooper and Walter Huston (Cecil B. DeMille's 1914 version also has a variation of this dialogue in the intertitles). The story of a ranch foreman who has to hang his best friend Steve for stealing cattle under Trampas and the schoolmarm Molly who loves him is still a compelling story to tell for the early talkie era though it might seem old-fashioned today. There is, however, an interesting exchange between the schoolmarm (Mary Brian) and an old pioneer woman (Helen Ware) about violence vs. Pacifism that still seems relevant today no matter if you're conservative or liberal. Cooper is a natural in his talkie debut as is director Victor Fleming with live outdoor filming. Walter Huston is great as the villainous Trampas. There are some interesting musical interludes at the beginning and interesting dialogue between Cooper and Brian about Romeo and Juliet. There's also the amusingly gravelly voiced Eugene Pallette as Honey, one of Cooper's friends. If you're a fan of early talkie westerns, by all means seek this one out!

Victor Fleming doesn't let us down!

[JohnHowardReid · 8/10 · 3 January 2018]

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).

MIxed bag

[scsu1975 · 4/10 · 20 November 2022]

Gary Cooper is the title character, Richard Arlen is his old friend Steve, and Walter Huston is the scumbag Trampas. I suppose this was considered entertaining in 1929, and is probably worth a peek. But it has not held up well.

I didn't get interested in this film until it was almost two-thirds over. It dragged for the most part, because nothing seemed to be going on. And there are only so many times I can stand to hear "I reckon ..." and "well, I'll be a ____." I was disappointed though, that no one was called an ornery sidewinder.

One of the better scenes is when Cooper has to order the hanging of Arlen for cattle rustling. Of course, Huston is the mastermind behind the rustling, so ultimately, he and Cooper will have to settle the score.

The climactic shootout is pretty tame, and also weird, as Huston makes sure his hat stays in place despite taking several bullets and spinning to the ground.

Huston's moustache seems to change shape a few times, and I kept waiting for it to fall off. Mary Brian plays the school marm and wears way too much eye makeup. Eugene Pallette plays a cowboy named "Honey." He wears a gun just to hold his pants up. Jack Pennick, a frequent John Ford player, has a bit and looks very young ... but just as bad-looking as ever.

Seminal sound Western is the best version of Owen Wister's book; yes, it's dated, but it's a pip!

[mmipyle · 9/10 · 19 September 2021]

I have been wanting to see the 1929 "The Virginian" again for a long time now, and yesterday I finally received a DVD I've been waiting for, and last night I watched it again with utter delight. I got rid of my VHS tape years ago, and I'm amazed that a good release - either remastered or restored - has yet to appear. This version is classic in every way. Starring Gary Cooper, Richard Arlen, Mary Brian, and Walter Huston, it also features Eugene Pallette, Helen Ware, Chester Conklin, E. H. Calvert, Nina Quartero, Victor Potel, Willie Fung, and many others. Look closely, you'll find Randolph Scott.

Based on the novel by Owen Wister, this was filmed in 1914 with Dustin Farnum, then again in 1923 with Kenneth Harlan, the latter with Russell Simpson as an excellent Trampas. After the 1929 version - the first sound version - it was made again in 1946 with Joel McCrea, then was a TV series, then made again in 2000 with Bill Pullman. It seems a new version is "in development."

The story has five separate facets, (1) the deep friendship between two cowboys, The Virginian (Cooper) and Steve (Arlen), (2) the rivalry between the two cowboys for the love of the new schoolmarm (Brian), (3) the eventual love of Brian for Cooper, (4) the horrible "crisis of conscience" of The Virginian when he discovers that Steve has been rustling cattle, and (5) the story of The Virginian versus the evil Trampas (played marvelously by Walter Huston).

If anyone is to receive acting honors it is Walter Huston in a shiny performance as Trampas, the gun-slinging cattle rustler who has absolutely no compunction. He roars into every scene in which he appears and he takes over like flashing silver - although dressed in black. However, nobody was ever to play The Virginian like Gary Cooper. He is here the essence of movie cowboy. You'd think that this is how the old West really was if you watch him. His body language is perfect. So, however, is Richard Arlen's. Arlen is given short shrift as an actor by a lot of critics, but he made a series of Westerns, including this one, that is quite wonderful to watch. After this film, "The Light of Western Stars" (1930), "The Conquering Horde" (1931), and "Gun Smoke" (1931) were all worthy candidates of extremely well done Westerns.

Mary Brian made four films and two other shorts with Gary Cooper. She was a staple of early 30's films.

I really like this film, from the story to the acting to the direction - brilliantly done by Victor Fleming - to the locations and photography to the editing - to, ultimately, the fun it is to watch. Full of swagger, pathos, humor, old-fashioned American toughness and adventure, and good mise-en-scene and local color. Recommended as highly as can be - even to those who don't care for Westerns.

I'm still waiting for an Early Gary Cooper Westerns package with "Nevada" (1927), "The Last Outlaw" (1927), "The Virginian" (1929), "The Texan" (1929), "The Spoilers" (1930), and "Fighting Caravans" (1931) - all restored, of course!

Gary Cooper Establishes His On Screen Western Persona

[springfieldrental · 8/10 · 8 July 2022]

Even though actor Gary Cooper began in silent cowboy movies, it was only when his first talkie was released did he establish his on-screen persona as the laconic good-guy Westerner in November 1929's "The Virginian." The Victor Fleming-directed film firmly encased Cooper's portrayal as the tall, handsome and somewhat shy cowboy, the character-type he played in a number of motion pictures. Hearing his voice for the first time proved to the public the actor had the chops to convey a down-home hero with a deep but clear voice. Cooper was initially apprehensive about the approaching technology of sound recordings, fearing his Montana drawl would ruin his young acting career. Randolph Scott, a budding actor who was born and schooled in Virginia, was brought in by Paramount Pictures to coach Cooper on the Virginian accent he was so familiar.

"The Virginian" was the third film adapted from Owen Wister's 1902 novel of the same name. Cecil B. DeMille's 1914 version and a 1923 silent preceded Fleming's movie (Because of the mass destruction of Virginian farms from the Union Army during the Civil War, many from the state immigrated to the unsettled West to begin anew.). Wister's book established the cultural clash between the pioneers who had long survived the harshness of weather, arid land, and lawlessness, to those newly-arrived Easterners accustomed to a more pampered way of living and a code of behavior relying on an honest law enforcement and a fair court system.

The Wyoming ranch foreman (Cooper), in charge of large herds of cattle, is constantly fending off cattle rustlers. One gang leader making a nice living of stealing others' livestock, Trampas (Walter Huston), is the villain Cooper must confront. In a famous early scene in a saloon, Trampas insults the Virginian, who draws a gun when Huston says, "I'll tell ya, you long-legged son of a-" Cooper retorts, "If you wanna call me that, smile." After a long pause, Trampas shows a big smile and says, "With a gun against my belly, I-I always smile." Trampas will never forget. He persuades the Virginian's best friend, Steven (Richard Arlen) to join him in the riches of rustling cattle.

Molly Wood (Mary Brian) is the civilized Easterner arriving to teach school. When she hears the Virginian hanged Steven, whom she liked, for stealing his ranch's cattle, she goes nuts on Cooper. In a memorable scene, Mrs. 'Ma' Taylor, tending the wounded Virginian when he's shot in an ambush by Trampas, tells Molly the reality of the West and its harsh living. Molly is stunned to hear there's a brand of courage and a code of honor not understood in the civilized East, a code that is the bedrock of cinematic Westerns. As scholar Joan Mellen notes, "'The Virginian' outlined a new, unrelentingly male personality. Cooper's a man of action, not words. He says, 'Would book learning do a cowpoke any good?' He's tough with men, but behaves like a gentleman with women."

Such themes permeated in Cooper's most famous role in 1952's "High Noon," and was repeated in his lesser films. "The Virginian" served as a model in a number of future Western motion pictures.