Tonight’s Movie: Dakota (1945)

I continued my ongoing quest to see all of John Wayne’s 1940s movies with the Republic Pictures Western DAKOTA (1945), costarring Vera Hruba Ralston.

While DAKOTA isn’t on a par with my very favorite non-Ford/non-Hawks ‘40s Wayne Westerns, TALL IN THE SADDLE (1944) and ANGEL AND THE BADMAN (1947), I found DAKOTA a pleasant treat.

Wayne and Ralston play John and Sandy Devlin, who as the movie opens are eloping with her wealthy father (Hugo Haas) and brothers nipping at their heels.

John was formerly a professional gambler, hence the anger of Sandy’s papa, but he’s now ready to settle down and build a life with Sandy.  John intends that they will head to California, but headstrong Sandy, knowing the railroad will soon be extended into Dakota Territory, buys tickets for Dakota instead; she sees great business opportunities for investing their nest egg.

John is a doting bridegroom and doesn’t mind the change of plans overly much, but he and Sandy soon find themselves having to deal with unscrupulous men who will stop at nothing to control the future railroad land themselves, headed by Bender (Ward Bond) and Collins (Mike Mazurki). Bender and Collins repeatedly try to thwart the Devlins’ plans, including stealing their money and framing John for murder.

I found this film a quite a nice surprise, starting in the opening scenes.  The credits seen over a huge mansion gives the viewer the impression that a ponderous historical “saga” might be in the offing, but the minute the credits are over the movie jolts into action, as Sandy throws her luggage out a window in order to elope with John.  I was pleased to discover that the movie was quite funny at times, including in this initial elopement sequence.

The movie is a bit unusual in that a romantic couple marry at the start of the movie and remain happily committed to one another.  It sometimes happens in other “frontier” films, such as Ford’s DRUMS ALONG THE MOHAWK (1939), but often such films find a couple later weathering marital difficulties. This is a much more lighthearted “marriage movie” than the norm; the couple face challenges, but are never driven apart.  What’s more, they seem to be having a genuinely good time together.

Sandy is sweet but also headstrong and manipulative; however, perhaps she has to be in order to hold her own against a husband who’s a force of nature.

Wayne is as charismatic as ever in this “middle” section of his career between STAGECOACH (1939) and his Ford/Hawks Westerns.  He is thoroughly enjoyable to watch; as big a star as he was, sometimes I don’t think he gets his full due for being one of the most compelling screen actors in film history.

I’ve rather come to appreciate the oft-maligned Ralston, especially since revisiting JUBILEE TRAIL (1954) a few years ago.  She won’t be mistaken for a great actress, but she’s quite personable here, energetic and fun to watch, and she has a nice chemistry with Wayne. Once upon a time I groaned when I saw her name and avoided her films, which might be one reason I hadn’t seen this film previously, but no longer.

I did wonder in passing how Sandy had time to prepare such elaborate hairstyles while traveling, especially without the help of a maid!

Bond’s villainous Bender is another interesting character, completely ruthless yet courtly with the ladies.  In a nerve-wracking sequence midway through the movie we learn that he has unexpectedly saved Sandy’s life, and he comments to her at one point that her husband is a lucky man.  However, he also doesn’t hesitate to kill a man and put John at risk of a lynching!

The story is interesting and moves briskly over the course of 82 minutes. While not a classic, it’s a solid three-star type film I quite enjoyed, and I’ll be returning to it again in the future.

The deep cast is rounded out by Wayne’s future RIO BRAVO (1959) costar, Walter Brennan, as a boat captain, and Ona Munson (Belle of GONE WITH THE WIND) as a saloon entertainer. Also on hand are Olive Blakeney, Paul Fix, Grant Withers, Jack La Rue, Nick Stewart, Jonathan Hale, Pierre Watkin, Robert Barrat, and Paul Hurst.

The screenplay was by Lawrence Hazard from Howard Estabrook’s adaptation of a story by Carl Foreman.  Joseph Kane directed, with black and white cinematography by Jack Marta.

DAKOTA is available on DVD and Blu-ray from Kino Lorber. The DVD print and sound are excellent.

The Kino Lorber disc includes a commentary track by Westerns expert Toby Roan and a gallery of five trailers for additional films available from Kino Lorber.