Frontier Marshal (1939)

Lack of good storyline.

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

By the time the dramatic fireworks start popping off, each one feels earned.

The First Time I Knew Anything About The Shoot Out At The OK Corral Was On (Get Ready For This) An Episode Of Star Trek The Original Series Called "Spectre Of The Gun" ... Then I Saw John Sturges' "Gun Fight At The OK Corral" And Thought Wow What A Movie, Then I Saw John Ford's "My Darling Clementine" And Thought It Was Better Than (And It Turns Out More Historically Correct) "Gunfight At The OK Corral" ... Now We Have "Frontier Marshal" And I Am Once Again Thinking Wow What A Movie ... Randolph Scott Plays Wyatt Earp And Cesar Romero Plays Doc Halliday And The Combination Is Excellent ... While The Story Does In Small Ways Veer Off The Actual Events It Is None The Less A Great Story ... Allan Dwan's Direction And Attention To Detail Is Exceptional ... Bit Parts By Eddie Foy Jr (Playing Himself), Lon Chaney Jr, John Carradine Make This Cast Icing On The Cake ... Lovers Of Westerns And History Buffs In General Will Love Watching This Version Of A Classic Story ...

Allan Dwan's "Frontier Marshal" is a classic western, very much of the old school and is one of the least known of all the movies to chronicle the exploits of one, Wyatt Earp, played here by Randolph Scott as his noble best, and that legendary gunfight at the O.K. Corral. It's beautifully shot in black and white by Charles Clarke and superbly designed and the cast includes Nancy Kelly, Cesar Romero, (as Doc Halliday), John Carradine and Binnie Barnes with Eddie Foy Jr playing his own father. If the plot feels overly familiar it's because John Ford remade it as "My Darling Clementine" with just a few alterations which may be one reason why this film has been largely forgotten. It may not be quite in the same class but it's still hugely entertaining and a worthy addition to the western genre.

A popular subject for westerns throughout the years, this is an account of Wyatt Earp and the legendary Gunfight at O.K. Corral, though the showdown here is pretty far afield from what most of the other movies depicted. Scott plays the newly appointed marshal, taking the job after proving that he could handle it and then some, and after being told that there was no more room in Tombstone for his original plan of a instituting a stage coach line. His primary antagonist in this rendition of the story is underhanded saloon owner Carradine. He also has to contend with headstrong dancehall girl Barnes. Aiding him is his TB-stricken pal Romero, who is equally handy with a gun and who lashes out at everyone whenever he's feeling poorly (which is often!) Kelly, a long lost love of Romero's, comes into town to persuade him to give up his gunslinging ways and return to her. Scott and Romero work hard to rid the town of corruption, though they hardly get off scott-free. Scott is stalwart in his role and easily convinces the viewer that he means business. Romero is brooding, yet strangely charming, and makes a nice counterpart to Scott. Barnes has an out of place accent, but manages to convey the pushy, common aspects of her character. Kelly is lovely, demonstrating an understated, appealing quality that was almost completely absent from her later, Oscar-nominated role in "The Bad Seed." Foy, jr. (playing his own father who was allegedly and entertainer in town the day of the gunfight) performs a mostly unintelligible song and overstays his welcome. Carradine is appropriately slimy, but isn't given a chance to really make a strong impression as the villain. Bond appears briefly as an intimidated sheriff. It's a short movie, which makes it pretty easy to get through, though some viewers may be bored by the musical numbers. Nothing about it makes it stand out as a classic, but it's also not a throwaway. Romero's work is interesting and there are certain amounts of tension generated. Just four years prior to this film, another version was released with character names even further removed from actuality (the marshal's last name was Wyatt!) and several years after, the story was told again as "My Darling Clementine", a film that uses several of this picture's plot points. Of course, it would be told again and again in films such as "Gunfight at the O.K. Corral", "Wyatt Earp" and "Tombstone".

What's most interesting about Frontier Marshal is the fact that it is clearly the genesis of My Darling Clementine, directed by John Ford seven years later. It is hard to view this movie without automatically thinking of the parallel scenes in MDC, and Ford's film draws heavily on the inter-relationships of Doc Holliday, Wyatt Earp, Sarah(Clementine in Ford's film) and the saloon girl, Jerry(Chihuahua). Other scenes are reworked into Ford's film as well…the disarming of the drunken Indian, dunking of the saloon girl into the trough, Doc Holliday attempting to redeem himself by performing surgery on a gunshot victim(in this case, the son of the Mexican bartender(in Ford's film, it was Chihuahua, Doc's `girl'), and a wandering theatric (a comic here, a Shakespearian thespian in MDC). This film is much slighter, with fewer themes and subtexts than Ford's and concentrates mostly on the relationship between Earp and Holliday and Holliday's redemption at the end. It plays out like a programmer, running a mere 71 minutes, so granted there isn't much time to devote to anything else. The themes of chaos versus order, civilization versus wilderness are only hinted at, and Randolph Scott is adequate as Wyatt Earp but without the underlying vulnerability(and humor) of Fonda's performance. The same might be said of Cesar Romero as Doc Holliday (for some reason changed to Halliday). He doesn't have the depth of Victor Mature's tortured Doc, in what was perhaps his best performance in any film, but the same self-destructive streak is evident as he attempts to drink himself to death, only to be stopped by Earp. Clearly, MDC was the more thought provoking of the two, but it cannot be denied that without Frontier Marshal, there would have been no MDC, or at least the one I consider a true western classic. What a quirk of fate that Ward Bond is in both films--the ineffective town marshal here, and later promoted to the role of Morgan Earp in Ford's version.