Boom Town

source: Boom Town

This one has it all-great cast(Spencer, Clark, Hedy, Claudette), rousing action(check that oil well fire scene), over-use of montages, boom and bust cycles, beautiful women(esp. Hedy), fistfights, etc. A typical big budget, big star feature of the times. I donno how much I bought the soap opera angle-clearly Claudette and Spencer should have gotten back together at the end, w/ Gable taking off w/ Hedy. She was easily more his type. The movie is quite superficial-they gain and lose fortunes at a seeming moments notice, bounce back easily and keep on plowing ahead. Gable and Tracy carry this, esp. Gable. It's likable, somewhat overlong and tends to drag a bit in the second half. Frank Morgan and Chill Wills help keep it lively. Look out for a neato Curt Bois cameo too. Think 'Casablanca' and 'Vipers'. *** outta ****, you will like it if you like the two leads.

Along with "Call of the Wild", this is my favorite Gable film(including "Gone with the Wind, made the year before). They have the similarity that we are in a wildcatting situation, looking for some treasure: gold in one case, oil in another. There is an air of tremendous excitement and optimism, which Gable epitomizes. In the one case, Gable has wisecracking Jack Oakie and later gorgeous Loretta Young as companions in the search for gold in the Yukon wilderness. In the present case, Gable teams up with an enthusiastic Spencer Tracy, and later with gorgeous Claudette Corbert. This is also one of the last films Gable made before the tragic death of his wife Carol Lombard and his entry in to WWII service. After that, Gable seemed a changed man on screen. It is also the most autobiographical film Gable did, as before his film career, he joined his father as an oil man. This film, as an epic about wildcatting in the early oil industry, invariably invites comparison with the later film "Tulsa", with the same theme. Native Oklahoman Chill Wills is the only actor I am aware of that was in both films. In both cases, the excitement begins with a gusher. Later, there is a spectacular oil field fire that threatens to wipe out fortunes. But "Tulsa" lacks anyone with the sizzling chemistry between Gable and Tracy, and also lacks the befuddled humor of Frank Morgan. Don't get me wrong. If you enjoyed "Boomtown", you should definitely check out "Tulsa". Susan Hayward is the tough-as-nails wildcat in that story, with Chill Wills as the occasional narrator. But, it tends to drag in places. The initial meeting between Gable and Tracy, going opposite ways on a one way plank that serves as a bridge across a muddy water-soaked road in a wildcat town, reminds us of the initial meeting of Robin Hood(Errol Flynn) and Little John(Alan Hale) in "The Adventures of Robin hood", in which they try to knock each other off a log crossing a stream so that they may complete their crossing. In the present case, this incident results in a draw, as both dive into the mud when bullets start flying around them. Tracy's initial offense at being called "Shorty" by Gable is soon grudgingly accepted when they share a room for the night. But woe be to anyone who parrots Gable in calling him Shorty! Comparison with yet another Gable film, "Wife versus Secretary", is also in order. In both films, Gable acquires a knockout single woman, who nearly costs him his marriage, as an indispensable assistant in his business. The difference is in the personalities of the women. Harlow's character respects his marriage enough not to encourage an affair, though appearances sometimes fuel rumors. Heddy Lamarr's character is a snake who admits to Tracy that she is determined to seduce and marry Gable's character. Happily, Gable eventually dismisses Lamarr and wife Colbert forgives him. The ups and downs of Gable's and Tracy's oil businesses, together or separate, and their relationship, constitutes much of the substance of the film. Tracy makes a memorable epic speech at Gable's anti-trust trial, which serves as the basis of a reconciliation and a hopeful finale. This speech should have been quoted in T.J. DiLorenzo's book "How Capitalism Saved America", in which he argues that anti-trust legislation has done much more harm than good. I wonder why the color poster for the main feature on my DVD shows Gable smooching Lamarr rather than Colbert? and why the color poster for the special features shows Lamarr and Tracy together(which occurred for only a few minutes in the film)? Is Lamarr considered such a superior beauty that she totally outranks Colbert? Not to my mind.

Boom Town (1940) An expansive, fun-loving, rags to riches to rags to riches story of early oil prospectors. Wildcatters. Clark Gable and Spencer Tracy make the unlikely pair of men who join forces to strike it rich, and they're both lively and sharp on their game. The main women in both their lives is Claudette Colbert, and of course circumstances make both men fall in love with her. Guess who wins? As the men find oil, then disaster, then more oil and more disaster, Colbert hangs on. Later in the movie, Gable in New York (during a successful few years) and he is caught up with an urban siren played by Hedy Lamar. To an audience used to film noir, we know she's a classic femme fatale, wanting something she shouldn't have and using what she does have to try and get it. But this is pre-noir, and of course a Western in many ways. In fact, it's before the U.S. entered WWII, and it's slightly odd to see a sprawling tale of such important seeming events when the big events are happening in Europe. But it's sweeping and convincing in that 1940s Hollywood style that is kicking in, technically flawless, beautiful made in every way. Throw in four great actors (as well as Frank Morgan, the man who the year before played the Wizard in that Oz movie) and you have a really excellent production. Gable as a youth even worked in the oil industry with his father, so he knew his stuff. Tracy, mad about details in his contact, was unhappy on the set and didn't get along with either woman, and it shows, once you know it. Why isn't this a great classic, with everything going for it? I think the story. It is filled with so many clichés even these actors, under director Jack Conway, couldn't make it fresh. The clichés are great of course—the rivalry over the same woman, the improbably rise to wealth (and fall), but you see them with familiarity. And the suddenness of huge turns of fate as it propels forward are a bit grand to the point of grandiose. Even the end you can see coming, in the big view. Still, I'd recommend this for the sheer joy of it all. Of course, Colbert and Gable were famous in the 1934 "It Happened One Night," and it's fun to see them six years later here. But even all the oil industry scenes, including a couple great disasters, are very well done and exciting stuff.

What I enjoyed most was the chemistry between Claudette Colbert and Clark Gable. They exude a sparkle in this movie. I am particularly impressed with Colbert's performance. Is there any way not to fall in love with this lady? She is convincing without being overly sappy. She gives a much better performance than Hedy Lamarr, who is not especially believable in her role. Hedy is a pretty lady; she just seemed stilted in this role; a siren should seem suave but she never quite comes across as the wanton woman she is supposedly portraying. The more Spencer Tracy movies I see, the more I appreciate his acting ability. His subtle facial expressions (and Colbert's too) really make this a fun movie to watch. Gable does not seem to have the ability to be as subtle. Although enjoyable, the 2 stars were Colbert and Tracy, without a doubt. The characters in this movie are all drifters who never really "settle down." They would not be appreciated in polite society without the oil money. My main complaint was that some of the hair and costumes looked like they were straight out of 1930s or 1940 rather than 1918 and early 20's when the story was supposed to take place. It is true that near the end of the movie we are approaching the late 20s, but the costumes did not seem very authentically 20s.

BOOM TOWN can't decide whether it wants to be a buddy flick (CLARK GABLE and SPENCER TRACY) about wildcatters, a domestic romance with an "other woman" angle (CLAUDETTE COLBERT, HEDY LAMARR), or just a big brawling adventure epic about losers and winners amid gushing oil. Somehow, it manages to be all three--which makes for a rather uneven story that serves as a star-gazer for fans who like to watch the foursome go through their paces even though the script isn't strong enough to support them and their misadventures. Claudette is lovely in the chief romantic role as Gable's love interest, but it's HEDY LAMARR (who strolls into the story pretty late in the film) who dazzles with her close-ups and that amazing beauty. Gable is right at home in this get-rich-quick-scheme drilling for oil, since he was an oil rigger at one time before his movie days. He and Tracy are both in love with Claudette--but after she falls for Gable she regrets his close working relationship with Lamarr--and that's where the plot starts to thicken but loses credibility at the same time. Lamarr's role is so underwritten that she hardly has time to register strongly as a sophisticated woman attracted to Gable. The focus is hardly on the women involved, but instead the main thrust of the plot is carried by Gable and Tracy and their relationship. It's the sort of macho buddy film you'd think Gable's friend Victor Fleming would direct, but instead it's Jack Conway behind the reigns. He keeps the action flowing, but somehow none of the characters manage to be really involving and it runs a little too long, just short of tedium, since no new ground is explored. Summing up: Mainly of interest for Gable fans--he plays his blustery devil may care self in great style, fresh from his triumph as Rhett Butler.

Clark Gable, Spencer Tracy, Claudette Colbert and Hedy Lamarr star in "Boom Town," a 1940 film directed by Jack Conway. It's about wildcatters and friends, played by Gable and Tracy, who make money as partners, love the same woman, go their separate ways, reunite, all under the specter of oil rigs. Gable has a role he owned, that of Big John, a tough guy, a man's man, kind of Rhett Butler goes wildcatting. Tracy is Jonathan Sand, his buddy, with a girl back home. Big John meets a lady and falls for her - except it's Sand's girlfriend Elizabeth (Colbert) who's just arrived in town. Well, she had to choose between Clark Gable, matinée idol, and Spencer Tracy, a character actor whose talent gave him leading man status. She chooses Big John. Sand accepts it as best he can. By now the two have struck oil and are in the big money. Eventually, Big John loses his part of the business to Sand, and he and Elizabeth leave the area in order to rebuild - and they do, big time. The couple end up in New York, where Big John meets a Big Beauty named Karen (Lamarr) and goes for her, threatening his marriage. Everyone is very good in this absorbing movie, with Lamarr's knockout beauty a real asset. This is nothing against Colbert, who is stunning as well and excellent as Elizabeth. Gable and Tracy have good chemistry - in the end, this is really a buddy movie, and they're a good match. Gable is very sexy and at his peak here. Very enjoyable, with great special effects - no expense spared for the four huge stars.

What jumps out for me after my first viewing is the extraordinary confidence on display in the two male stars. The women are also strong, but the story belongs to Tracy/Gable and their identical code of honor. Few US films achieve this level of natural aristocracy. If they do, it's often one character who possesses the requisite courage and honor, and it brings out the Iago-esquire in others. This is an unusual document in which love and honor rule, and the matter of winning/losing in terms of material goods is viewed with the hauteur of a view of life that has pretty much been eclipsed. As for the writing, it's not bad - the characters could have been more fully rounded, but there's enough substance to make for a credible world in which these guys make their way. Tracy and Gable brought this quality of strength to a lot of their films, but having both present, without sacrificing part of either, is quite special.

Even all the great stars of yesterday including Claudette Colbert, Clark Gable and Spencer Tracy can't raise this picture above average and that's exactly what it is-average. I guess the dialogue is good. The story isn't bad but the woman who loves her man even though he isn't faithful or present all the time story seems very stale and tired here. Claudette can't keep her character from becoming tiring with her smooth delivery and even keeled moods. The film is quite dated in other ways. The fight scenes between Gable and Tracy seem poorly choreographed especially by today's standards. It's muck. Average muck. I guess it's okay to watch to see how films of that era were shot but there are others from the same year that are much better. I'd skip it.

The rise and fall and rise fall and rise and fall and rise of Gable... In the meantime, we have the rise and fall and rise and fall and rise and fall and rise of Tracy. Or something like that. These two seem to get rich in the oil business with the ease of stealing candy from a baby! An utterly ludicrous yarn, but made interesting by a great cast and a very fast, energetic tempo; things move so quickly that: a) you can't get bored, and b) you "hopefully" don't notice just how absurd the plot twists are. Lamarr and Colbert are cute. Some of the silly stuff: 1) Gable meets Colbert, and by next morning they are not only deeply in love but married! 2) Tracy giving away his fortune just like that, 3) Gable never getting too upset about his business crumbling, 4) Tracy giving that ridiculous speech in the court-room, and then receiving huge ovations! 5) Tracy offering to marry Lamarr, as a result of some rather silly scheming, 6) Gable not wanting to make up with Tracy while the former is poor and the other rich, 7) Tracy not wanting to be friends with Gable until the former is poor and the other rich, 8) Tracy and Gable finally getting along, but only because both are on par success-wise. The movie fortunately doesn't make the mistake of taking itself too seriously, so it never ends up being hilariously idiotic as for example "Ice Palace" does.