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Arguably the best latter-day Stanley Kramer film (i.e. made during his lean 1969-79 period); being a light-hearted romp with a mean streak, it might also be his oddest. It features an eclectic cast, with both George C. Scott (as a drifter) and John Mills (as Faye Dunaway's estranged father) shining in their comical roles; Dunaway herself (in an unflattering black wig) and Jack Palance (as a menacing thug, what else?) are also well-cast. Henry Mancini's flavorful score (and song) adds to the film's eccentricity, given its proliferation of foul language and occasional bouts of violence. In essence, patchy but generally enjoyable - and occasionally uproarious (Scott's priceless reaction to Dunaway's Third Sex speech and the second Scott-Palance confrontation). I had this on a VHS of wretched quality for years (though the quality of Robert Surtees' cinematography is still evident), but only watched it now to commemorate Palance's passing.

Amusing film by the great producer and director Stanley Krmer , including an attractive and interesting screenplay written by Marc Norman . It's oil boom time in Oklahoma and Lena Doyle (Faye Dunaway) , a man-hating , strong-willed woman has a struggle on her hands : the big oil companies don't appeal the fact that she's working a potentially profitable oil well . Reluctantly, Lena has to accept the aid of her estranged father Cleon (John Mills) , and Mason (George C. Scott) , the man he contacts to help . The three form an unlikely alliance against the oil trusts that are represented by a nasty ex-general (Jack Palance) and his big guys (William Lucking , Cliff Osmond) . But together are determined to defend the lone wildcat rig , as the good guys contend the bad guys and put up a terrific facing .

This is a wild raunchy rip-roaring yarn , an agreeable picture that has comedy , fights , shootouts , mildly enjoyable situations , nonthinking amusement and likable performances . Enjoyable acting by Faye Dunaway and Geoge C. Scott , both of whom steal the show , she as a hard-bitten, stubborn feminist and he as an obstinate drifter . Enjoyable relationship among three protagonists : Lena hates men , Mason stunningly played by George C. Scott , giving a brilliantly comic acting , he is out for himself , and Lena's father wonderfully acted by John Mills is attempting to make up for a lifetime of neglecting his daughter . Furthermore , a good support cast as Harvey Jason , William Lucking , Cliff Osmond and special mention to Jack Palance playing an unforgettable villain . Colorful cinematography in Panavision filmed on location in Ospital Ranch, Stockton, California, USA , being compellingly photographed by Robert Surtees , an excellent cameraman expert on superproductions as Ben Hur , Quo Vadis , Cimarron , King Solomon's Mines , among others . Atmospheric and lively musical score by Henry Mancini , Blake Edwards' usual .

This old-fashioned motion picture was well produced and directed by Stanley Kramer . He directed 14 different actors in Oscar-nominated performances .He was a notorious producer and director who gave big successes . Kramer formed his own production company in 1947, in conjunction with Carl Foreman .He had a reputation for being frugal, working well within his budgetary limitations . Many of his films reflected social or political concerns and were often controversial . Stanley was consequently tagged as a "message film maker" and "Hollywood's Conscience" . Among his most popular films are : The pride and the Passion¨, ¨On the beach¨, ¨¨ Judgment at Nuremberg¨, ¨Ship of fools¨, ¨World is mad , mad ,mad¨ and ¨Guess Who's Coming to Dinner¨ . However , ¨Oklahoma crude¨ resulted to be a flop at box office though nowadays is well considered . rating : Above average . Worthwhile watching .

Oklahoma Crude reminds me of movies like Cat Ballou (Jane Fonda, Lee Marvin) and There Will Be Blood (Daniel Day-Lewis) - the story is about the rough early days of oil drilling, a kind of late Western movie with a good shot of comedy elements and action. Production is great and the cast (Faye Dunaway, George C. Scott, Jack Palance) including the supporting cast does well. No masterpiece but a decent and entertaining movie about some unlucky underdogs taking on the big fish in the pond.

A neat cast and a decent script help make this unusual, romantic neo-western come alive. Dunaway is a humorless, stubborn, single woman, doggedly trying to derive oil out of her tiny homestead while a massive Oklahoma company pressures her to sell to them. The company's hired goon (Palance) will stop at absolutely nothing to secure her land. A shiftless drifter (Scott) attempts to aid Dunaway even as she resists him and goes out of her way to repel him. There is an interesting and entertaining dynamic between Dunaway and Scott and between them and Palance. Also on Dunaway's side for reasons of his own is Mills (who is as equally loathed by her as Scott is.) Scott gives a wonderfully thoughtful and delicately nuanced performance with bits of comedy strewn throughout the sometimes dark storyline. Dunaway is raw and unvarnished, completely tossing away her previous glamor-girl trappings and enjoying a vulgarity and earthiness that is startling, but effective. She has to stand as one of the most driven women imaginable. (She also, at one point, receives what has to be one of the most brutal and sustained beatings of any woman in a major studio film!) Palance discards much of the hamminess he had developed at this stage of his career and gives a strong and menacing, yet believable performance. His small army of henchman cut dashing figures in their bowlers and long coats. Mills is thoroughly winning and delightful, giving the film a dose of class and heart. Campos, as an Indian helper, couldn't possibly have a more thankless role. There is great cinematography, several memorable interchanges between Dunaway and Scott and a strong combination of character study and storyline. Grungy, frank and seemingly simplistic, this tale is surprisingly endearing and psychologically complex, showing real heart and occasionally touching emotion at times. The juxtaposition of violence and comedy is sometimes a bit hard to take, but that's the way life is.

Faye Dunaway has guts - or, if I wasn't such a lady, I would use a different word. In Oklahoma Crude, she wears trousers, shares a shack with a scruffy drifter, holds no qualms about bursting into an occupied outhouse, and defends her land by shooting a shotgun at her own father when he trespasses. She is one tough cookie! If you're a fan of hers, you won't want to miss this quirky period piece.

If you're not a fan of hers, and if you're not a fan of George C. Scott, God help you. The studio uglied Faye up as much as possible to make her seem tough and uninterested in femininity. She's a crude woman - crude oil, that is. The drill is on her land, and despite bankruptcy, lack of help, and little hope, she's determined to strike oil. Sometimes she appears to be stupid and making bad decisions, but just keep in mind her character's primary motivation is oil, not safety. George plays a hobo and he accepts the work because he has no income and no shelter. He doesn't have much motivation besides that either. John Mills is Faye's father, and Jack Palance is (three guesses and the first two don't count) the bad guy. My favorite part of the movie was Henry Mancini's adorable, catchy theme. It does have some funny moments, though, because as much as oil drilling is a serious business, sometimes you have to take time out and laugh at your situation.

Oklahoma Crude is Stanley Kramer's attempt at a western, semi-modern though it might be. It also is quite a different look at early statehood Oklahoma circa 1913. The movie kind of dates itself when a drunken George C. Scott and John Mills listen and sing along to a gramophone record of You Made Me Love You which came out in 1913.

It's nothing like that other movie of Oklahoma's early days Cimarron, Edna Ferber's tale of pioneer women and Yancey Cravat who has an honored place with cowboy heroes. George C. Scott is no hero, but he's forced into a heroic mold because he doesn't like being spit on as Jack Palance the oil company man does.

Three very estranged people Faye Dunaway who is one liberated and independent woman determined to hang on to her oil lease and bring in an oil well gusher. She has to accept help from her father John Mills and from George C. Scott who Mills finds on the bum so to speak. He certainly does have certain skills that he brings to bear. Palance is his usual rough customer as the oil company man.

One ought to see Cimarron, both versions to contrast with this film. One ought to also see the MGM big budget film about the oil industry Boom Town that starred Clark Gable, Spencer Tracy, and Claudette Colbert. The film is an ode to laissez faire capitalism and its attitudes are 180 degrees apart from Oklahoma Crude.

The end also has one ironic postscript and more in line with real life than most of what you see.

And George C. Scott is bad for the bad guys, but a cowboy hero he ain't.

In 1973 I saw this film when it first came out accompanied with my father. We saw it in a movie house out in the Coney Island section in Brooklyn, and it was on a rarity these days - a double bill with a film from France (I believe it was TRAFFIC by Jacques Tati). The movies were entertaining for a change. OKLAHOMA CRUDE was an unexpectedly good film - not a great western but an unusual one.

The plot is similar to the plots of many westerns. A woman owns a small parcel of land which is the subject of interest by powerful local interests. Instead of it being land where the local water hole is located (as in THE BIG COUNTRY) it is potentially rich oil land. The woman here (Faye Dunaway) is very independent and very bitter - her father (John Mills) has always been distant and never helped her or her mother. But circumstances force her to rely on Mills and on drifter George C. Scott. Scott is quite a slippery type - out for himself. So Dunaway proceeds to keep him on a tight leash.

The local Oil Company represents the big land owner in traditional westerns. And, taking a leaf from SHANE, it's "gunslinger" is Jack Palance. But Palance is a smoother villain (and at times a funnier one) than his classic killer in SHANE. When Scott offers to sabotage Dunaway's attempts at fighting the big, bad corporation, Palance, calmly smoking a cigar motions Scott over to him. "I don't think I can use you for that.", our Jack says in a typically deadly confidential whisper of that gravelly voice of his, "but I'll tell you what. I'll give you $10.00 if you'll kiss my ass!" Scott doesn't reply immediately, but later on he gets a little back at Jack - at a particularly dark threatening moment, Scott pulls his shotgun up against Palance's groin (lower section). Caught off guard and frightened, we see a river come out of Jack's midriff. When he is "emptied out", he looks disgustedly at his ruined overcoat, strips it off him gingerly, and dumps it on the floor of Dunaway's homestead before he leaves.

The film had many choice moments - like John Mills and one of Palance's army of thugs confronting each other, both firing their guns, and both discovering that they have no ammo in their guns. They then have to race to arm their weapon first...and it becomes a really close thing.

The slapstick moments enliven the film - and even last to the last moments when (much to Palance's amazement) his bosses are ready to meet any demand to get that oil. All in all a pretty good and unusual movie, and one that should be seen by people who like western films.

Dismissed by critics as one of Stanley Kramer's later flops, OKLAHOMA CRUDE is not bad. It does, however, suffer from an identity crisis. Is it a comedy? Is it a drama? Is it a western? It's not really any of those. Nor, thankfully, is it one of Kramer's social issue epics. Faye Dunaway gives it her all as a demented wild-catter trying to get oil from a lone well while keeping the big time oil companies off her land. She's helped out by her ne'er do well father John Mills and a hapless drifter played by George C. Scott. Scott and Dunaway have great chemistry and Kramer wisely downplays any love story. However, although they make a scrappy team, they're not particularly likable. In fact, none of the characters in this film is very pleasant, therefore there's nobody to really root for.

Kramer, like his contemporaries Billy Wilder and Otto Preminger, seemed to have lost his way by the 1970s. OKLAHOMA CRUDE doesn't click as comedy or drama. The actors are poorly directed: Dunaway is completely humorless, while Scott plays his part as if he's in a broad farce. Jack Palance, as the villain, appears to be spoofing his own clenched jaw persona.

I saw this movie in high school and have been waiting for a video release ever since. The screenwriter, Marc Norman, created a masterpiece, and Stanley Kramer directs one of his best movies ever. A great mix of intelligent dialogue, social critique, and sexual politics.

If you're a fan of David Mamet or HBO's "Deadwood," then you'll love this vulgar and profane bit of Americana. The leads play against type and pull off some really great performances. Scott and Dunaway are terrific together; too bad they never paired up again.

If you think this is a one-off, consider this: Marc Norman would go on to win an Oscar for "Shakespeare in Love." Mr. Norman, can you use your clout to get a DVD release?

This is a great little allegory about the constant struggle between artistic filmmakers (drilling for oil) and the finance people who stand around the edge of the set, taking pot shots, while waiting for the gusher to pay off.

I recently watched Oklahoma Crude (1973) on Tubi. The storyline takes place in the early 1900s, following an aging father, almost on his deathbed, and his daughter who own a promising oil well that major oil corporations want to acquire by any means necessary. A hobo comes along and offers to help her in exchange for a portion of their earnings. A business partnership forms between the lady and the hobo versus corporate oil.

This picture is directed by Stanley Kramer (Guess Who's Coming to Dinner), and stars Faye Dunaway (Mommie Dearest), George C. Scott (Patton), Jack Palance (City Slickers), and John Mills (Great Expectations).

This is a perfectly constructed movie with ideal backdrops, sets, attire, and props that pull you into the era. The cinematography is elite, and you feel the hope and desperation in every scene. The chemistry between Dunaway and Scott is perfect, and they were excellently cast for these characters. The storyline provides little hope for our heroes and presents impossible odds. The conclusion is a bit predictable, but the journey there is fun.

In conclusion, Oklahoma Crude is a unique and worthwhile addition to the western genre that's worth your time. I would score this a 7/10 and recommend seeing it once.

A strange, downbeat western that is just simply dull at times, it nevertheless has a few amusing moments and exciting bits in the mix. George C. Scott does quite a decent job with a charismatic, interesting character, yet all the characters come off as cold and hard to like, particularly the feminist played by Dunaway, who is only angry for most of the time. What occurs between the characters is pretty easy to predict, as is most of the plot, despite its unusualness. Henry Mancini's bouncing score is perhaps the film's strongest point. His music is fitted in a bit awkwardly at times, but it generally provides a western feel quite well. While I cannot think of a large number of reasons to recommend this film, Kramer does not do too poor a job with the material, so perhaps the film is worth a look.

Director Kramer was always much maligned by the critics (he and Pauline Kael never traded Christmas gifts). His 'important' films were considered placid, threadbare, and manipulative. His films on race relations like THE DEFIANT ONES and GUESS WHO'S COMING TO DINNER treated the issue in a very simplistic and tasteful way. Giving one the impression that he was more interested in not offending anyone and being acceptable than actually making a real movie.

However this one, which is one of his later and least known efforts, tends to break that mold. For Kramer it is actually quite edgy. He still tries to tackle the issue of the day, in this case feminism and a womens place in a mans world, but he does it in a much more sophisticated way. He looks at the issue from different angles and surrounds it with a sense of fun and irreverence. Things aren't quite as obvious as with his other films and the characters are more interesting and quirky.

Basically it is a revisionist western with strong willed Dunaway hiring drifter Scott to help protect her property from greedy land baron Palance who wants the land for it's oil. Really though that is all just an excuse to show how although both sexes deserve equal rights there are still many differences between them and how one really does need to other because of this. It also shows the little intricacies that come about when a man and women work together compared to when two men or two women work together.

The two leads are perfect. Both have always had very strong on screen personas, yet here Scott deftly underplays his, which makes for a very interesting on screen chemistry. Palance however as the heavy is completely wasted simply because he is not given enough screen time.

Overall this is a fun picture that is well paced and should, if anything, keep you entertained. It doesn't really push the limits enough to be a classic, but it does have a few memorable moments.

A few of those moments come with some snappy exchanges. At one point Dunaway softens a bit and tries to explain to Scott why she has been so cold to him. She says "I know I have been a bitch, but this world can be very hard place for a women." Then Scott without missing a beat says "Well it can be a hard place for a man too." There's also a conversation where Dunaway explains why she would like to have both the male and female sex organs. Her answer to how she would go about satisfying herself is a good one.

Some similarities to boomtown from 1940. In that one, the foe was the other man in the girl's life. In oklahoma, the foe is big oil, which plays dirty, and is determined to claim jump Lena's patch of land. She has exactly one rig, and will do whatever it takes to defend it. Some serious violence in this one, as the big oil company, represented by jack palance, is ruthless. We never do see any law officers in this one, and that must be because its so far away from any city. I guess. Lots of rain. George scott and john mills are on the scene to help lena (dunaway)... but what are they really after? It's pretty good. Directed by stanley kramer. He was nominated for nine oscars, for huge films. And worked with spencer tracy on many of them. Which may explain the connection to boomtown, as tracy had starred in that with clark gable. George scott had just done patton. Dunaway had done bonnie and clyde, but still had some huge films coming up in her career!

For some bizarre reason, this excellent comedy drama was not released where I live in in Australia in 1975. As a drama with an interesting cast and spectacular visuals OKLAHOMA CRUDE is definitely an improved taste, rather like Mc Cabe and Mrs Miller or even Paint Your Wagon. Muddy Wild West and very grubby even sexually, this essentially three hander is essentially a sex farce with oil power play interwoven. Kramer films are always interesting, even if failures and for some reason beyond me, this film was not as gusher. The scene where Scott literally pees in Palance' pocket is genuinely funny, as is the hilarious scene where Dunaway explains her 'self reliance' sexually. This film deserves a re appraisal and a new audience.

Yet another Depression era movie where the corporations are worse than Nazis in the height of Nazi Germany. Along with Emperor of the North and Boxcar Bertha (and their liberal granddad, The Grapes of Wrath), the bad guys depicted are just a little... actually, a lot... overboard in their villainy, to the point that, what's unrealistic is the fact if they were this bad, why would they hold back enough to be defeated?

As for a movie, this one's all over the place. Great actors turn in a good performance, but Faye Dunaway and George C. Scott are one-dimensional, maybe even more so than heavy Jack Palance, who at least smiles around his guard dog.

It's another one of those pretty decent movies that simply gets too heavyhanded with the haves and have-nots. Probably the best character is William Lucking, caught between both.

George C. Scott, Faye Dunaway, John Mills and Jack Palance (all Oscar winners) star in this comedy set in Oklahoma. It feels like a precursor to Daniel Day-Lewis' There Will Be Blood, in that the commodity's oil. Who's got it is keeping it, despite the fact there are those who will do whatever they have to to take it from them. Faye is John's daughter and, when John goes to hire hands to help Jane guard her oil rig, George C. Scott is hired. Once there, he finds out that Jane is cantankerous and quite an obstinate and independent person. She refuses to give an inch on any subject or let her guard down long enough to trust anyone. In fact, when the subject of the battle of the sexes (being a man versus a woman in the world) comes up, I got one of the biggest laughs I've ever had from a movie, from her severe and hardened disposition and attitude and the lack of the need for anyone in her world and George C. Scott's reaction to it. Jack Palance is the greedy opportunist who wants her oil and will try all he can to steal it from her. If you get a chance to see this wild and outrageous film, don't turn the channel. Watch and enjoy. It's an experience you're not likely to forget.

"Oklahoma Crude" is a rather confusing film. The motivation of the main characters is fuzzy to say the least and the behaviors of the baddies just didn't make a lot of sense in this one. To me...it's just a misfire despite the presence of George C. Scott...which is a shame, as he is one of the greatest actors of his age.

The story is set sometime around the turn of the 19th-20th century. A determined woman is trying to drill for oil in Oklahoma but a baddie (Jack Palance) who works for an oil corporation seems willing to do just about anything to stop her and her few men. Mase (Scott) wanders into the mess and tries his best to make the well pan out...but even if it does, the baddie and his men are waiting at the edge of their property and they're very well armed.

The film suffers from so many unanswered questions that I won't bother to mention most of them. But a few are pretty important. First, why is Faye Dunaway's character so angry and why does she seem to hate her father? Second, why have the baddies and the good guys killed quite a few of each other...and then they just walk away at the end as if nothing has happened? Um...hello....murders here!! Third, who is Mase and why does he do pretty much every thing he did in the story? Add to that a rather crude script (read the trivia section for a bit more on this) and it results in a misfire. I wanted to like it but the film just felt unfinished, confusing and uninvolving.

George C Scott carries this nonmetrical and slow picture. Jack Palance is once again typecast as a one dimensional cartoonish villain and Faye Dunaway plays an extremely distasteful heroine. Not to mention a second rate score from Henry Mancini; Oklahoma Crude is certainly one of Stanley Kramers lesser attempts.

This film has an atmosphere of "grit" to it, and the title helps suggest that. It's a story of a small person against a large corporation in the early part of the twentieth century.

There are four major characters that are the focus of the story. The beautiful young woman played by Faye Dunaway is holding onto a well in which she hopes oil will emerge is the catalyst. John Mills plays her father, a stranger to her, arrives, trying to make amends and help her against a mercenary leader played by Jack Palance, hired by the huge oil company to steal her claim. The fourth is the "drifter", the "everyman" who is swept up into the act as her employee, played by George C Scott.

A lot of what happens is very fresh even today, and goes against the "usual story line". Very unexpected events.

What makes a simple story become a good story is the supporting characters, and this film cleverly makes the story actually be seen through the eyes mostly of the "fifth and sixth characters", both from very different social castes. These two are the witnesses from both castes who would want something better than the bloodshed that goes on. We only get glimpses of this, as they watch the four main characters duke it out, but both try vainly to bring sense to the situation. They are the "eyes" of the viewer put into the story. It is quite well done.