California (1947)

Truth be told, I'm a huge Barbara Stanwyck fan. Though she never won an Oscar despite four Best Actress nominations, I consider her the greatest actress of Hollywood's Golden Age (sorry, Bette Davis). I've seen almost all of her movies, but until a few days ago I had never seen California. And I think I know why. Rarely shown on TV and arguably Stanwyck's weakest film of the 1940s, this historical western lacks focus and cohesion as it tries to squeeze too much plot into its relatively brief 97-minute running time. What should be an epic ends up a jumbled, pedestrian picture that fails to honor both its subject and its star.

Set against the backdrop of the gold rush in the 1840s, California chronicles the events that led to the territory's application for statehood. The history, though, takes a backseat to the rocky romance between Jonathan Trumbo (Ray Milland), an Army deserter turned wagon train driver, and Lily Bishop (Stanwyck), a disreputable woman accused of being a card shark. Typical of movie couplings, the two start off on the wrong foot, then become bitter adversaries, all while harboring a mutual attraction that smolders beneath their verbal slings and arrows. As Jonathan and Lily try to iron out their differences, tensions rise between the pro- and anti-state factions, sparking skullduggery and violence.

Perhaps California's most notable fact is it marks Stanwyck's long overdue Technicolor debut. Because we're not accustomed to seeing the actress in color (only six of her 84 features are in color), our first glimpse of her is breathtaking and makes us wish she could have made more color movies, especially earlier in her career. The lush cinematography constantly flatters her and is California's greatest asset. The opening montage celebrates the state's many natural wonders, from the redwoods to Yosemite Falls, but the visuals can't compensate for a weak, meandering narrative and sluggish pacing that doesn't pick up until the final half-hour. I expected a heavy dose of California history, but the script by Frank Butler (who won an Oscar for Going My Way a couple of years before) and Theodore Strauss only scratches the surface and relies too heavily on Western clichés.

Inexplicably, California also contains a few musical interludes that serve no purpose except to grind the already slow-moving plot to a screeching halt. Why the film needs songs (and forgettable ones at that), especially if they are performed by a very obviously dubbed Stanwyck, is hard to figure. Stanwyck would have been far better served by more juicy dramatic scenes instead of a couple of insipid songs that make her look unusually uncomfortable. Marlene Dietrich in Destry Rides Again she most definitely is not!

Stanwyck always seems very much at ease in Westerns, especially when she's riding a horse, but her role in California is puzzlingly and frustratingly subservient, which may explain why she's billed below Milland. (Another reason might be that Milland had recently won the Best Actor Oscar for The Lost Weekend.) Though she exhibits plenty of spunk and grit, her showy moments are fleeting. I kept waiting for her big emotional scene, but it never came, and as the movie progresses her character becomes increasingly marginalized. Her part is also largely decorative, a rarity for Stanwyck, who usually drives her movies. Most of the time here it seems she's simply along for the ride.

The refined Milland made his name in drawing room comedies, but even though by this time he significantly expanded his range, it's a stretch for him to portray a cowboy. While he tries to quell his British accent, the cadences often come through, and as hard as he tries he can't quite shed his sophisticated and urbane persona. He and Stanwyck also don't generate much chemistry. Their romance seems forced and they don't muster the burning passion necessary to sustain interest in their relationship. Not surprisingly, California would prove to be their only movie together.

The supporting cast, led by that crusty Irishman Barry Fitzgerald, adds some much-needed flavor to the proceedings. George Coulouris, Albert Dekker, a young Anthony Quinn, and Frank Faylen assert themselves well, but the uninspired direction by John Farrow doesn't do any of the actors any favors. Farrow helmed some fine films over the course of his 25-year career (The Big Clock and Wake Island chief among them), but he seems disinterested here. Handcuffed by a tepid script, Farrow does what he can, but struggles to infuse much life into the film. California may be a feast for the eyes, but there's not much substance to feed the brain and not much heart to nourish the soul.

Vital Disc Stats: The Blu-ray
California arrives on Blu-ray packaged in a standard case. Video codec is 1080p/AVC MPEG-4 and audio is DTS-HD Master Audio 2.0 mono. Once the disc is inserted into the player, the static menu with music immediately pops up; no previews or promos precede it.

It sure is good to see Barbara Stanwyck in Technicolor. Though the 1080p/AVC MPEG-4 transfer is a bit of a mixed bag, the overall presentation will certainly please the film's fans. The natural grain structure remains intact, preserving the feel of celluloid, but the texture never overwhelms the image. Clarity and contrast are quite good, but some murkiness and softness creep into the frame from time to time. The Technicolor cinematography by two-time Oscar-winner Ray Rennahan, who received all seven of his nominations for color films, is often vibrant and lush, with bold reds, verdant greens, deep blues, and sunny yellows adding punch to the picture. Blacks are rich, whites are bright and stable, flesh tones remain consistent throughout, and sharp close-ups highlight Stanwyck's creamy complexion and Milland's ruggedness. Some mild print damage is evident here and there, but it only fleetingly detracts from what is otherwise a very satisfying viewing experience.

The DTS-HD Master Audio 2.0 mono track pumps out quality sound that's free of any age-related hiss, pops, or crackle. A wide dynamic scale embraces all the highs and lows of the music score by 21-time(!) Oscar-nominee  Victor Young. (He would finally win the award - posthumously - for Around the World in 80 Days.) Sonic accents like gunshots, galloping horse hooves, fisticuffs, and facial slaps are crisp and all the dialogue is clear and easy to comprehend.

A collection of trailers for other KLSC releases is the only extra on the disc. Sadly, no preview for California is included.

California is one of Barbara Stanwyck's least known films, and after finally watching it, I can see why. The Technicolor photography is lovely and the performances are fine, but a disjointed plot and anemic direction mire this historical western in mediocrity. Solid video and audio transfers enhance the viewing experience, but a dearth of supplements is disappointing. For Fans Only.