Based on the same-named 1930’s novel by Edna Ferber, Cimarron (1931) is a pre-Code Western starring Richard Dix and Irene Dunne. The epic tells the story of one family, particularly husband and wife Yancey and Sabra Cravat, through big life moments spanning forty years from 1889 to 1929. It was a critical success at the time, though it did not recoup its production costs—which was RKO’s most expensive at the time—during its initial run. 

Though the Great Depression had just begun, RKO invested more than $1.5 million into the production. Filming was done at Jasmin Quinn Ranch outside of Los Angeles to capture the impressive opening land rush scenes. More than 47 cameramen and numerous camera assistants and photographers were used to capture the 5,000 extras as they raced on covered wagons, surreys, bikes, and horses. RKO also purchased 89 acres in Encino to construct a complete western town and modern main street to showcase the changing fictional town of Osage, Oklahoma throughout the years. The sets would become the foundation for RKO’s movie ranch where other films were later shot. 

Though considered dated by modern audiences, the film is quite progressive for its time. Despite awful stereotypes of Isaiah (a black servant boy) and Levy (a Jewish tailor), Cimarron is fairly woman positive, with Yancey’s defense against prejudice towards Dixie Lee (a prostitute) and Sabra’s election as a member of congress. The film also tries to show a positive attitude towards Native Americans through Yancey’s comments on land ownership and his son’s friendship and eventually marriage to an Indian princess (miscegenation in a pre-code era).

Cimarron was the first film to receive more than six Academy Award nominations and to be nominated for the Big Five awards (Picture, Director, Actor, Actress, and Writing). It was also nominated for Art Direction and Cinematography. Besides winning “Outstanding Production,” the film also won for Best Writing, Adaptation and Best Art Direction. 

The film has a 52% rating on Rotten Tomatoes.

Nolan’s Thoughts

This was kind of a hard film to get through. The opening sequence with hundreds of extras, horses, and wagons chaotically racing across the plains certainly started the film on a unique and exciting note, but almost immediately after it ended I started having some issues. 

It was hard enough watching all the racial stereotypes and offensiveness from that time period, but to make matters worse, it’s coupled with a disjointed story that somehow seemed too epic and too intimate at the same time. 

Certain scenes were overwhelming both visually and audibly. Oftentimes there were so many people moving around and background activities it was hard to know what the focus of the scene was or even to hear certain dialogue. 

I found it hard to connect with most of the characters. Yancey was at least interesting. Seeing him struggle with maintaining his place in the new town, while constantly going out of his way to try and help those in need and abandoning his family several times, was both honorable and annoying to watch. 

The overall pacing and timeline of the film were very inconsistent. It felt like a messy collection of comedic scenes, heavy over the top drama, and out-of-place action. The awkward time jumps also kept the story from having a cohesive flow.

The impressive production gets lost in a floundering plot that shows glimpses of heart and honor, but ends up falling short through awkward tone shifts, and an uneven story.

I give it 3/10.

Krissen’s Thoughts

Cimarron sees a family through forty years of Oklahoma history from 1889 to 1930, the present day of when the film was released. It’s an interesting idea, to show a progression of time through recent history, but the events focused on seem too particular to be engaging to a wide audience. The time jumps (seven particular years) feel disjointed, explained only through title cards and specific Oklahoma history like statehood and the oil boom. 

Besides the opening land rush sequence—which is impressive in scale, but also wildly chaotic—there isn’t much else to recommend Cimarron to modern viewers. It is a dated, audio mess, weirdly with zero music, full of racial stereotypes and cringey dialogue. The acting is performative and dramatic (the second film of Irene Dunne, who had transitioned from a successful Broadway career) and the characters mostly unlikeable. Sabra is vehemently anti-Native American for 99% of the film and scathingly prejudiced against Dixie Lee; and Yancey leaves his family for multiple years, twice! 

One highlight would be the production design. The western town, which is slowly changed and modernized through brief transition shots over the years, is well done, as is seeing an evolution in clothing styles and the makeup aging for the two leads.

I rate this 3/10.

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