UNTAMED: Blu-ray (2oth Century-Fox, 1955) Twilight Time

Henry King’s Untamed (1955) has been referred to as the South African Gone with the Wind (1939). And although both movies share in a willful heroine who staunchly refuses to surrender her passions (and ex-husbands, trashed lovers and Zulu tribesmen be damned) – and uses a green dress to further her ambitions, no less – that is pretty much where any similarity between Untamed and the other aforementioned treasure from Hollywood’s golden epoch ends. While I absolutely adore Susan Hayward, Untamed is not her finest hour. Ditto for Tyrone Power, in his final movie for 2oth Century-Fox; the star’s alma mater for eighteen years. The real hurdle to overcome is story. Helga Moray’s sprawling novel about sexual suffrage and strife is set against the unrest of civil war. But the screenplay is decidedly a distilled version, cobbled together by three of the studio’s top writers: Michael Blankfort, Frank Fenton and Talbot Jennings, basing their prose on an even more cannibalized adaptation from Jennings and William A. Bacher. Presumably for concision, the writers have shoe-horned the novel’s highlights into an interminable and endless series of little nothings. We get a moment here, a moment there; each, so brief, cumulatively, they can hardly be referenced as ‘vignettes.’ Characters principle to the story, herein float in and out of the narrative timeline, ephemeral to the plot. There is virtually no character development; the studio, presumably relying on the book’s best-seller cache, while using a short shrift ‘plug n’ play’ and ‘fill in the blanks’ thumbnail to tell the tale. But seriously, any Central Casting extra could have filled these parts with as much potency. So, we get Ty Power as the supposedly dashing rogue – an archetype he could play blindfolded; Susan Hayward - the ballsy bitch/survivor (shades of Scarlett O’Hara, without the staying power or kitten-eyed venom and finesse of a Vivien Leigh), Richard Egan, as the rough n’ ready hunk du jour (he’d just as soon dominate a wild stallion as a woman), and, Rita Moreno, the veritable ‘go-to’ for half breed harlots with the proverbial heart of gold. It’s all a wash in Untamed; King, toggling between some truly breathtaking camera work on location in South Africa, haphazardly wed to obvious blue-screen composites that look about as convincing as a Burlesque backdrop. Despite the A-list talent on tap, and arguably, their best efforts put forth, they never quite come together to generate those bodice-ripping moments from Moray’s novel.  

Born in South Africa, Moray, the wife of Hollywood director, Tay Garnett, had based the exploits in the novel on her own Irish grandmother. The book – or what was then a mere seventeen-page outline, entitled ‘Katie, Called Katje’ was brought to the attention of producer, William Bacher in 1945. It helps to have a husband working in the industry. Because Bacher optioned the film rights based on this outline, thereafter guiding Moray through the writing process and contributing funds to enable her to complete it. Shopping the property around, Bacher was rather dismayed to find no takers: not MGM, nor Paramount, nor even 2oth Century-Fox – each, concerned over the obvious expenses incurred to mount such a super-production. Undaunted, Bacher found a publisher for the novel instead; Untamed, hitting book sellers in the spring of 1950. The reviews were uniformly tepid at best, The Washington Post suggesting, rather glibly, that although ‘a trifle indigestible’ it was ‘ready for filming.’ Bacher had sincerely hoped to cast Glenn Ford as the male lead. Given Ford’s exceptional rigidness in period costume drama (see him in 1948’s The Loves of Carmen if you want to laugh), the actor’s limitations, later proven again as one of the wooden stick figures populating the 1962’s remake of The Four Horsemen of the Apocalypse, it is a minor blessing, Bacher did not get his way.

Meanwhile, Ty Power was Fox’s numero uno box office draw for nearly two decades; the studio throwing their fine-boned pin-up into virtually every genre and, more often than not, hitting the box office bullseye. No one at the time could have foreseen that Power had barely three more years to live, felled by a fatal heart attack in 1958 while shooting a duel with costar, George Sanders for Solomon and Sheba (1959). But at age 41, in 1955, Power’s sex appeal had decidedly cooled; his boyish charm matured, his looks hardened with age and wartime experiences. Power, age 21, might have pulled off the rogue Boer Cavalry Commander, Paul van Riebeck. At 41, he is decidedly long-in-the-tooth for it, looking statelier than studly in all his tuxedo-ed finery at the governor’s ball – more the mandarin than male beauty in his stiff-britches. How a firebrand like Katie O’Neill (Susan Hayward), with her earthy and smoldering libidinous sex appeal, could find Power’s Paul her soulmate, especially with hot-blooded, Kurt Hout (Richard Egan) lurking in the shadows, and, making his dishonorable intentions well known, became a genuine mystery; Egan, already well on his way to establishing his beefcake status in Hollywood. Like the Scarlett, Rhett, Ashley triangle in Gone with the Wind, Untamed sets up its two-men/one-woman premise practically from the outset. Unlike its predecessor, both men in Untamed are more than willing to park their ponies in Katie’s barn. For Hout, the promise of a roiling affair to just too good to pass up. He lets himself be used – up to a point, working Katie’s farm after the untimely death of her husband, Shawn Kildare (John Justin); a mere substitute for Paul, after Paul casually walked away.  Katie ought to have known better. Paul’s first love is a free and independent Dutch state in South Africa. To this cause, he is slavishly committed.  Conversely, Paul is gun-shy and hardly the marrying kind, even if the woman is ripe for the asking. So, what is a gal to do. Well, if she has to ‘lie, steal, cheat or kill’….yeah, yeah, yeah; we’ve heard this one before!    

Untamed begins with a fox hunt in Ireland in 1847. Under the main titles, with a lusty score penned by Franz Waxman, we catch glimpses of Paul and Katie astride their steeds, making chase across the vibrantly green and open plains. At some point, Katie’s recklessly causes Paul’s mount to veer toward a cobblestone wall. The horse staggers and is made lame. Infuriated, Paul cordially admonishes Katie. Although he is perturbed, this is a guy who does not break a sweat. He will, however, teach this willful spitfire a lesson not soon to be forgotten. Ordering Katie down from her mount, she willingly complies, believing Paul has romantic intentions. Instead, he takes control of the reins of her horse, climbs atop and explains to Katie that since she is responsible for invaliding his ride, she can damn well lump it on foot back to her father’s plush estate. Without further ado, Paul leaves Katie to find her way back alone. That evening, while Katie’s landowner/horse merchant papa, Squire O'Neill (Henry O'Neill) is entertaining guests, Paul is lured onto the patio. There, he and Katie become socially acquainted. Paul is even civil towards her. At the party’s end, Katie patiently waits for Paul at the top of the stairs. Again, he admonishes her for being a devil in petticoats, only this time, one he has absolutely no problem taking to bed. Presuming this to be a preamble to a relationship, Katie makes plans to show off her new beau in the county. Regrettably, Paul will have none of it. He has purchased several stallions from the Squire’s prized stables and departs almost immediately to make the lengthy trip back to South Africa. Before this, Paul bids the Squire and his overseer, Shawn Kildare a hearty farewell. However, he leaves Ireland without ever again speaking to Katie.

We fast track through the next several chapters of Moray’s novel in a matter of minutes, learning via Katie’s voice-over that Squire O’Neill has succumbed during the Great Famine. His estate in shambles, in the interim, Katie has wed Shawn, born him a child in Cape Town, and, together with the couple’s ever-devoted nurse/maid, Aggie O'Toole (Agnes Moorehead) has elected to emigrate to South Africa. We pick up the tale as Katie and Shawn befriend the Jouberts (forgettable as played by Louis Mercier, Edward Mundy, Trude Wyler, Catherine, and, Christian Pasques); French immigrants, also in search of a new life. Alas, theirs will be one of the great tragedies encountered along the way while crossing the Zulu-infested tundra. With Katie’s coaxing, Shawn naively decides to join the settler’s caravan on an 800-mile trek to Hoffen Valley. There, he and Katie hope to establish a farm. Actually, Katie has learned Paul and his cavalry men are in this territory. After all this time, she still wants him back.  Paul and his men are supposed to escort the caravan safely through Zulu country.  Instead, unforeseen delays derail this rendezvous. Just before departing Cape Town, Katie picks up an unwanted admirer – trek leader, Kurt Hout (Richard Egan in a role originally intended for Victor Mature). He is immediately taken with her beauty, despite Katie not giving him an ounce of provocation. Besides, Kurt is already involved with the gypsy girl, Julia (Rita Moreno) who has come along for the ride. Naturally, Julia is jealous of Katie, although, as time wears on, she will come to realize the romance between them, and indeed, betwixt Katie and Kurt is all one-sided. Kurt is in love with Katie; Katie with Paul, and Julia wants desperately to be Kurt’s woman; quite the daisy chain, with further complications to ensue.

Disregarding Kurt’s advice, Shawn’s horses become spooked and break the line. They also cause the Joubert’s team to break free from his parked wagon. Mr. Joubert, who has paused a moment to stretch his legs, watches helpless as the wagon carrying his entire family and all of his worldly possessions is flung into a terrific canyon, killing everyone. Horrified and disheartened, the caravan continues on route to the valley, still without Paul’s escort. They come under siege from the Zulus who are barely held off until Paul and the cavalry men show up. Alas, by then, many lives are lost, including Shawn. Katie and Aggie bitter-sweetly forge ahead. Out of harm’s way, and having made it to Hoffen Valley, the caravan strikes up an impromptu celebration. Katie wastes no time pulling out her green satin dress from the steamer trunk. Aside: it is important to recall that in classic literature, only whores wore green.  In her finery, she prepares to lure Paul to her side. And while Aggie knows Katie never loved Shawn, she cannot help but feel Katie’s actions will brand her a wanton woman among her contemporaries. Kurt intercepts Katie on her spirited search. The couple dance, before Katie finds Paul and takes him into the forest to prove her love. Although Kurt orders Paul to stay away, claiming Katie is his, Katie defies Kurt. Paul rushes in to protect her. The men fight; Paul, disarming Kurt of his whip and diffusing the situation with a show of force.

Having schemed her way into Paul’s heart again – or so she believes - Katie and Paul begin to build her a farmhouse on a plot of land with help from the natives and Aggie. A large tree near the property becomes Paul and Katie’s sacred meeting place. Katie firmly believes Paul has finally fallen in love with her and considers this tree a symbol of its steadfastness. Alas, Lieutenant Christian (Brad Dexter) arrives to inform Paul he must immediately return to his regiment. Despite Katie’s strong opposition, Paul abandons her without fail. The Dutch free state still means more to him. For this, Katie makes a very public declaration; her love turned to vinegar. She will sooner see Paul destroyed than fighting for his cause. Believing Katie has at long last rid her heart of this wooden-headed crusader, Kurt resurfaces. Indeed, he will prove to Katie what a real man around the house means, even if Julia has also come a very long way, only to lose her man to another. Julia promises Kurt he will never win Katie’s heart, pointing to the tree at the edge of the property – the very symbol of Katie’s enduring passion for Paul. Determined to put his mark upon the land – and Katie’s heart – Kurt picks up an ax and storms off to chop down the tree. Frantic, Katie rushes ahead to prevent him. As a terrific gale has already whipped the dry earth into a heavy frenzy, Katie tries to subdue Kurt. She cannot. But Mother Nature is not so easily thwarted. The sky erupts with violent electrical currents, cleaving the great tree in two; the bulk of its towering branches, crushing Kurt. Although still very much alive, one of Kurt’s legs must be amputated to save his life.

Everyone takes refuge from the storm in Katie’s farmhouse. But by dawn’s early light, Katie is appalled to discover the farm decimated. Electing to begin anew, Katie bears a second child, whom she names Paul (Kevin Corcoran).  The rebuild will not go smoothly, as an itinerant peddler informs all of the settlers, he will no longer be accepting Dutch paper money – only gold - in trade for his goods. As there is gold prospecting to be done in the nearby mountains, Katie is reduced to trading her meager possessions to the natives for their gold, the value of which they know not. One native trader gives Katie an even more precious offering: a diamond for her green dress; again, without any understanding of its value. As the gem turns out to be one of the largest ever unearthed in South Africa, Katie sells it to set herself up in Cape Town, buying and refurbishing Paul's ancestral home. However, as the years pass, Katie realizes not even this will win Paul back. At the cusp of establishing a free Dutch state, Paul is invited to Katie’s home where the Governor is attending one of her elegant soirees. Katie uses her persuasive charms to inveigle a meeting between the Governor and Paul, very much in his favor. Paul is impressed, as he has tried for months to see the Governor, but to no avail. Katie and Paul’s détente is doomed to failure after she tries yet again to win his heart. Paul resists, and Katie now reveals to him that he has a son. It is a bittersweet revelation, and one that does not end amicably, as Katie orders him from her house.

Again, for time constraints, the next few chapters in Moray’s novel get glossed over. We learn through Katie’s voice-over, she has lost all her money in bad investments. Relocating her sons and Aggie to Kolesburg in search of diamonds, Katie discovers Kurt has since become the embittered leader of a ruthless band of outlaws who dominate the diamond mining trade in these rugged hills. Paul unexpectedly arrives with his cavalry, determined to retake Kolesburg for the government. But Kurt has prepared an ambush. As before, Kurt’s wits are no match for Paul. His men take Koleburg by force and arrest all of Kurt’s banditos.  In a last-ditch effort to regain control, Kurt takes Paul Jr. hostage. Surrendering his firearm, Paul pleads for the child’s release. Instead, Kurt relishes the opportunity to commit murder, taking dead aim at his unarmed sworn enemy. Mercifully, Paul’s ever devoted man, Tschaka (Paul Thomson) defends him with his spear. As Kurt lays dying, Paul slips a wedding band onto Katie's finger. She has had enough of diamond mines and roughing it in these wilds. The couple set their sights for Hoffen.

Untamed is a mishmash and a mangling of Moray’s story – devolving into a grotesquely sentimental and gushing romantic potboiler almost from Katie and Paul first meet. Addison Hehr and Lyle R. Wheeler’s production design yields some handsome interiors, particularly for the ball. Lest we recall, Wheeler was one of the art directors on Gone with the Wind. So, he came to the task of creating sumptuous spectacle very well-versed. Prior to William Bacher selling the property to Fox in 1953, he could find virtually no takers. But then, the post-war liberation of badly needed funds, and, Darryl F. Zanuck’s newly christened Cinemascope process came to the rescue. Cinemascope demanded spectacle. And Untamed promised as much. After Zanuck’s departure from Fox, the daily studio’s operations fell to Greek theater exhibitor, Spyros P. Skouras, who effectively instructed its writers to begin looking for properties that had ‘width’ rather than story-telling ‘depth’ to compliment the elongated Cinemascope screen. And thus, Untamed, with its sun-drenched vistas, and thousands of charging Zulu tribesmen, seemed an ideal choice.  

Teaming with Bert Freidlob, Bacher’s short-list of actresses to headline were eventually distilled into three viable candidates: Jean Simmons, Susan Hayward and Eleanor Parker. For the male lead, Friedlob suggested either Gregory Peck or Tyrone Power, with the initial plan to shoot roughly all of the picture overseas in its native habitat. While Skouras willingly agreed to authentic locations – as, Fox already had a long-standing reputation (unlike other studios) for shooting movies beyond its back lot facades – in the end, cost-cutting prevented less than half of Untamed from actually being lensed in South Africa – the picture, instead, cobbled together with blue-screen process plates substituted for the real thing. Indeed, Susan Hayward never set foot on African soil, delayed by a messy divorce that required her to remain in the United States. When it premiered, Untamed was a sizable hit for Fox, although it appealed more as yet another Cinemascope wonder, rather than a cohesive melodrama, luridly painted with light. Viewed today, Untamed is a rather clunky affair, unprepossessing, and not terribly well-acted. The screenplay is mostly to blame; barely allowing some scenes to unfold before cutting away to something else. Director, Henry King inexplicably cuts the action right in the middle of more than a few pivotal scenes. Consider the moment when Katie has just introduced Paul to the Governor whom he has been trying to meet for months. Paul is grateful for Katie’s intervention. The two embraces. However, as he prepares to take her to the dance floor, King suddenly fades to black, moving on in utterly perfunctory fashion to an inconsequential montage, accompanied by Katie’s voice-over narration, skipping past even more pertinent details from Moray’s novel. Apart from under-utilizing the mammoth ballroom set we only glimpse for mere moments, don’t Paul and Katie, separated for several years, have anything valid to say to one another at this particular moment of reunion? Is there no exposition that might have solidified their diverging concerns for the audience, better to crystalize their love/hate relationship, or simply add spice to catching up on old times? Apparently, not, and Untamed is ever poorer for such absences.  And King’s lack of investment on such a gargantuan production shows through in other ways too. Despite its lavish appointments, Untamed is disposable entertainment – hardly a class act or a classic, and, very much as forgettable as movies get, despite its star power.

Untamed arrives on Blu-ray via Twilight Time. And while we can all breathe a sigh of relief this vintage catalog title has escaped the appalling blue/teal push to have afflicted a good many Cinemascope hi-def transfers (a chronic manipulation of the original DeLuxe Color palette that results in muddy tones), the image here is decidedly unfettered by such concerns – but emerges dated, faded and lacking in overall quality. The vices of vintage ‘scope’ are only partly to blame; the residual softening at the extreme left and right of the screen, a shortcoming of early Bausch & Lomb lenses. Transitions, dissolves, and, fades are plagued by a momentary downturn in overall image sharpness and color density. We can forgive these anomalies – again, because they derive from Cinemascope, not the Blu-ray mastering efforts. Inexcusable, however, is the overall careworn and faded texture. Honestly, could not a bit of color timing and color correction have been applied, particularly to create uniformity in flesh tones? Not only from scene to scene, but shot to shot do they toggle from ruddy orange to piggy pink, then pasty pale and back again. Contrast is weaker than anticipated. Age-related artifacts are intermittently dispersed, but do not distract. The 5.1 remix of original six-track magnetic ‘scope’ stereo sounds very strident, and, occasionally distorted. The 2.0 – also included – offers overall better clarity here. Very curious, indeed. The only extra is an isolated score and effects track, plus a trailer. Bottom line: Untamed won’t win any awards, either as a movie or Blu-ray of the year. Pass and be very glad that you did.

FILM RATING (out of 5 – 5 being the best)

2

VIDEO/AUDIO

3 (barely)

EXTRAS

1