Frontier Gal
Johnny Hart (Rod Cameron) is on the run from the law after killing one of the men who shot his partner. He passes through a town and stops at a saloon owned by singer Lorena Dumont (Yvonne de Carlo). The two seem a good, albeit tempestuous match, although Johnny has no plans to marry -- Lorena has other ideas and a shotgun wedding ensues.
John Chard@John Chard
The shrew wasn't willing?!
Frontier Gal (AKA: The Bride Wasn't Willing) is directed by Charles Lamont and written by Michael Fessier and Ernest Pagano. It stars Rod Cameron, Yvonne De Carlo, Andy Devine, Fuzzy Knight, Sheldon Leonard, Andrew Tombes and Clara Blandwick. Music is by Frank Skinner and Technicolor photography is shared by Charles Boyle and George Robinson.
What a mixed bag of a film! It begins with the high speed pursuit of Rod Cameron on horseback. He's our man in black and we shunt our way through absolutely gorgeous Technicolor enhanced locales. From there he hits town and quickly flirts with a ravishing De Carlo, flirting that goes so far as to use sexually playful violence as part of the process. This annoys local dude Sheldon Leonard, a macho muscle flexing contest occurs, a faux wedding is strangely arranged, Cameron bogs off for a few years, comes back to town, finds he has a daughter with De Carlo and the pair carry on warring as secrets begin to will out.
The story itself is utterly bonkers and tonally it is never at ease with itself as it unconvincingly tries to blend offbeat farce, action, drama and musical numbers. Some of the location photography around Kernville and Mammoth Lakes is sumptuous, the costuming gorgeous and sparkling in Technicolor (with a top print of the film now available). Yet these tech highpoints are undone by some real creaky money saving stage work, notably for the big finale as the scenery props wobble and the big dramatic "child in life threatening peril" sequences are blighted by appalling process work.
Cast are fine, very likable stars who are in on the nutty nature of the beast, with Beverly Sue Simmons as the precocious child of the play something of a revelation. The musical score is standard throwaway stuff from Skinner, likewise De Carlo's musical numbers- where I'm not convinced she is actually singing herself? There's also plenty here for the politically correct to get in a twist about, but personally it doesn't bother myself as I take it as intended for the era it was made. So all told, approach with caution because it's all over the place, but as wacky and as frustrating as it is, I still kind of enjoyed it - sort of... 5/10