Sometimes, a film is able to transcend the era it was made in, truly making it feel as relevant and modern as when it was first released. Yet, others simply have not aged as well. This can sometimes create a rather difficult viewing experience – and that is somewhat the case with the 1928 western In Old Arizona.
This western is one of the most important and influential films of the time – being one of the first cowboy flicks to introduce sound as well as one of the only movies that would be shot in situ for the foreseeable future (being the first ‘talkie’ to do so) – as the advent of sound brought with it a plethora of issues (including bulky cameras that restricted movement, having to hide microphones in sets and costumes – which restricted movement of the actors, as well as the oversensitive nature of the mike, to name just a few).
It is these two impressive feats that also hinder the film – as the sound is somewhat erratic (not only are they filming in the elements, but they are also working with a technology that was in its infancy). So, sometimes it takes a keen ear to pick up the discussion . . . or we can be deafened by the volume of oncoming cattle – with it sounding ten times louder than the rest of the movie. What is clear is that we take sound in films for granted – the filmmakers are clearly showing off when they record the audio of sizzling bacon and eggs for what very well could be the first time ever – something we would likely not even notice today.
Okay, enough with the issues. The rather simple but effective story follows The Cisco Kid (Warner Baxter), a charismatic criminal who robs travellers in the wild west. He is being hunted by the persistent Sergeant Mickey Dunn (Edmund Lowe), a top military man and sharp shooter who has been given the honour of tracking down the iconic thief (who has a 5,000 dollar reward on his head).
But, of course, the Sergeant has never seen the legendary bandit. In a cleverly written scene, the two meet in a barber shop, and the magnetic anti-hero befriends his would-be assailant, treating him to a hair cut and promising to meet him later after they have enjoyed a more than pleasant chat.
It does not take long for Dunn to learn that he was shaking hands with the man he is supposed to be hunting – though by this time, the criminal has fled and made his way to his girlfriend’s rural home.
The lady is Tonia Maria (Dorothy Burgess), who is literally a gold digger (as she is taking the criminal’s gold) as well as a rather loose woman. We first view the lady ushering out an alternate beau as The Cisco Kid rides in to meet her. The senorita, who acts as though she is in love with the man (and scolds him when she smells perfume on his clothes – suggesting he has been with another woman), is never unwilling to accept expensive gifts from the clearly infatuated man. By the end of their most recent hook-up, she has also convinced her beau of passing along all of the gold and silver coins that he has stolen from his most recent criminal ventures.
The tale ties together nicely, as Tonia makes it her goal to seduce Sergeant Dunn after she has delivered a message to him on behalf of The Cisco Kid, as he showed little to no interest in her. Yet, we have learned that Dunn has a weakness for slender women and he quickly finds out where she lives (hoping to track down the outlaw as well as charm the woman). The two fall for each other (though Dunn’s offer of the reward money makes us wonder just how interested she is in her most recent suitor).
In some ways, the story feels very modern – as we are rooting for the villain, much like we have with more recent offerings that have followed the flawed tales of criminals like Nucky Thompson in Boardwalk Empire and Jack Sparrow in The Pirates of the Caribbean franchise, always hoping that they will somehow get away with it.
The calm, cool and collected criminal eventually figures out what is going on – keeping his head while he plays the Sergeant through the woman (by way of their intimate connection). He is able to switch a letter that she has written to Dunn that outlines The Kid’s escape plan for a false one, setting her up in the process. It is a sharp ending (that wraps up the story while also tying in dialogue from earlier in the picture), that closes with a rather clever final line that almost feels like a James Bond witticism.
Perhaps some will find it surprising to discover that Warner Baxter won the Academy Award for Best Picture at the second Oscars for this role. It is amazing to think of how little most people know about the early award winners and I am sure most have never even heard of this picture. Baxter is actually quite entertaining in the movie – capturing the suave, charismatic and accented criminal to a tee. Lowe, who played Dunn, was also quite good, feeling a bit like a John Wayne type – and adding some nice humour to the motion picture.
It is also intriguing to see a film of this age shot on location (including the San Fernando Valley and Grand Canyon, as well as numerous other outdoor locales). It adds to the realism of the picture – as it is usually all too evident that a movie is shot on a set.
The music is also rather ingeniously intertwined. There is no true score with only live music providing the track. We listen to the actors whistling or singing and hear what we would hear in our own lives – at a piano bar or with a record player. It works quite well for the historic and rural setting. I must also add that it is quite humourous that they felt it wise to integrate a nearly minute and a half interlude song (at the beginning) as well as a tune for a minute at the end of a film that is just over an hour and a half long (they were clearly trying to capitalize on the new sound technology) – and why not!
There is also some nice comedy interlaced throughout – including a stagecoach driver who continuously says that he could have killed The Cisco Kid if not for troubles with his gun (even though he clearly had no interest in doing so) as well as a some funny conversations between the criminal, the barber and Dunn in the barbershop.
In Old Arizona is a rather complex film to rate. By today’s standards, it takes some effort to get through (unlike some other early Hollywood pictures). There are several great moments as well as surprisingly engaging dialogue (I can just imagine screenwriters around this time saying: “What? I’ve got to write meaningful dialogue?”, after getting away with scribing very little of it during the silent era). There are also some decent performances and a good ending, yet there are the issues with the sound, some sloppy transitions, and a rather draggy story (especially for the first fifteen or so minutes). All of this blends into its very important historic context.
In the end, this one will likely not be for most movie watchers. Yet, for those purists who wish to see an early Oscar winning performance, an historically important film, or enjoy viewing older movies, they might find some things in it that they like. So, stop flirting with giving this one a chance and saddle up, or settle down, and give this one a shot.
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