From the Archives: Pioneer days well depicted: ‘Cimarron’ relates colorful and dramatic story

The pioneering spirit of the West lives once again. “Cimarron,” a screen transcription of Edna Ferber’s novel, achieves the revivification, an epical and human impression of the land rush days in Oklahoma.

“Cimarron” came to the Orpheum Theater last evening as an event. The special celebration of the big premiere, with the customary routine of lights crowds, radio greetings, etc., surrounded its arrival, plus a large turnout of stars, directors and other film first-nighters.

“Cimarron” will draw attention because it is a sincere and colorful accomplishment — more sincere and more colorful, it would seem, than most previous enterprises of this kind in the talkies.

More humanness of plot and situation, more careful detail in scenic panorama, more of that urge and vitality that should go into the elaborate story of empire building seem to raise this production to a high peak. “Cimarron” rouses both emotion and understanding because it treats its subject with a warmth and sincerity not usually attained in this sort of undertaking.

The eye is caught immediately by the sweep of the land rush, which comes with a breathtaking swiftness almost, it would appear, before the picture has started. Such a wild, smashing scene would ordinarily be saved for a climax, but here it is presented to give impetus to the whole unfoldment.

The hero of “Cimarron” is a Don Quixote of the West. When there is no rough primitive trail to be hewn anymore, no wayward knights (or windmills) to be conquered, life palls for him, and he wants to be on to new fields. The woman, on the other hand, inclines toward the smoother paths of culture — even though that culture may be developed in the wilderness.

“Cimarron” is the sketch of a lifetime. It portrays the experiences of Sabra Cravat from the period when she is the girl-wife of the hero, until she has assumed complete sway as the publisher of her husband’s newspaper, and also becomes a congresswoman. The film is really her story, but there is the deeper undercurrent of Yancey Cravat’s bravery, independence and undying fervor in the cause he believes right. He fights to clear the way for others, and in the end he loses his own life saving others.

Over and above all, perhaps, the film symbolizes the growth of a town, showing spiritedly its advancement from the uncouth, hard-boiled village into a modern metropolitan entity.

“Cimarron” is scarcely free from blame in some aspects. The incident of the defense of Dixie Lee is a crass one. The dramatic climax of Yancey Cravat’s conducting of a religious service goes almost to the extreme of unreality, but its spectacular qualities intrigue despite this. Perhaps too the hero may lose some sympathy because of his somewhat wild self-determination in the latter part of the film.

However, to balance this are the actuality of all the larger scenes, the sympathy attaching to the love between Yancey and Sabra and to their fight against crude conditions, and, perhaps, above all, the idealistic attitude of the woman grown great toward her husband and her family at the end of the picture.

Irene Dunne has made her role especially attractive by virtue of an earnest and thoughtful portrayal of the heroine. She will be well-nigh star material as a result of this performance. Simplicity and genuineness seem to mark her whole interpretation.

Richard Dix is a new personality in the rugged title role. Few good opportunities have come his way of late, but in his portrayal, he will regain and doubtless add to his popularity. Not all the finesse that might be deemed desirable, but a dominating impersonation.

Edna Mae Oliver is a brilliant success as the voluble ex-school ma’am; she is responsible for much of the comedy. Estelle Taylor gives allure and feeling to her portrayal of Dixie Lee. Roscoe Ates, George E. Stone and Stanley Fields are others well cast in the large group of principals.

As a directorial accomplishment, “Cimarron” is notably outstanding, and Wesley Ruggles gains impressive laurels on this account. He will acquire a high place in the season’s records because of it.

The picture was preceded by a prologue, “Land Rush Days,” staged by Bud Murray, in which a male chorus was a feature, and introductions were made by Fred Niblo following the showing.