North to Alaska (1960)

A recent issue of Vanity Fair magazine contained a lengthy article (riddled with some annoying errors, by the way) about the exploits of legendary Hollywood agent (and producer, on occasion), Charles K. Feldman. For John Wayne he at one time obtained a three-picture deal at 20th-Century Fox that included this one, as well as "The Comancheros" and "The Barbarian and the Geisha." This comedy, set in Gold Rush Alaska, is the best of that trio, thanks to Henry Hathaway's hand at the helm, and some extremely astute casting. Stewart Granger, presumably a free agent after fulfilling his MGM contract, is credible as Wayne's partner; Ernie Kovacs, in one of his few film roles, before his untimely death, makes a thoroughly convincing cad; and Fabian, shoehorned in to lure the teenage females, is refreshingly funny in probably his best film performance. Capucine, one of Feldman's conquests, according to that same Vanity Fair article, was given the role of Michelle/'Angel' and she gave a preview of her ability to play a glamour role with an emphasis on comedy that came to full flower in 1964's "The Pink Panther," in which she skillfully matched pratfalls with Peter Sellers in his first incarnation as the immortal Inspector Clouseau.

With the great Kathleen Freeman, the always funny Mickey Shaugnessy, and Karl Swenson rounding out a cast giving full play to the script's comic aspects; Leon Shamroy lensing the proceedings with his usual professionalism; and Lionel Newman contributing an apposite score; this one, with a title song that managed a place on the Hit Parade back then, is lots of not-too-taxing fun. It's soon to be available on DVD, I notice, so its CinemaScope ratio will no doubt be restored, the only way to revisit a film made when widescreens were really wide.

Fmovies: A note about Capucine (Germaine Lefèvre):she was born in Toulon,France and she began as a fashion model.Her career in France was so minimal she remained virtually unknown (except maybe during the sixties)over here ;her work includes a very small part (shall I say cameo?) in Cocteau's "L'Aigle A Deux Tetes" and another one in Becker's "Rendez-Vous De Juillet";then in the seventies "L'Incorrigible" by Philippe De Broca:that's all.Her best European part was certainly in "Fellini-Satyricon" but she was almost unrecognizable.She committed suicide .

The cast also includes would be rocker Fabian who shows himself to be a better actor than he is a singer (some may remember his dismal "ten little Indians " rendition in George Pollock's version of eponymous Christie's classic).

The two other actors are veterans ,the kind of actor you're expecting in a northern western ,although Stewart Granger was English whereas his brother was played by an American actor (Fabian Forte).

I've always been a fan of Henry Hathaway ,since I saw "lives of a Bengal lancer" when I was 13.Here he is not the Henry Htahaway you are expecting.The acting is rather tongue in cheek and the director does not seem to take his story seriously.After so many dark works ,some of which being peaks of film noir ("the dark corner" "kiss of death" ) of western ("garden of evil) of melodrama ("niagara" ) and fantasy ("Peter Ibbetson" "the witching hour" ),he probably decided he would have a vacation and he had it cinematographically.And his holiday homework is quite pleasant ,well told ,with a good use of the splendid landscapes and he managed to get the best of his foursome ,the experimented ones and the less so.

John Wayne plays Sam McCord, who teams up with George Pratt, played by Stewart Granger, striking it rich with a gold mine around the turn of the century in Alaska. Fabian plays George's younger brother, Billy. George sends Sam back to Seattle to bring back his bride to be; instead, Sam brings back a chorus girl played by Capucine.

Henry Hathaway directs this fist swinging comedy. Of course, Mr. Wayne is in charge of the fist fights and Fabian is the butt of and source of most of the comedy. Comic Ernie Kovacs plays a snide claim jumper. Fast paced frolic of a picture. An enjoyable lighter side of 'Duke' Wayne.

North to Alaska fmovies. The story is rather minimal, also there is little substance to the characters. However, I can overlook these in a way, but this was entertaining and was never meant to be complex and all that. It has beautiful cinematography and scenery. It has great music and a truly terrific title song. It has a sparkling script. It has skilled direction. It goes along at a decent pace. It has two fun performances from John Wayne and underrated Stewart Granger. And North to Alaska has one of the wildest and wackiest bar-room brawls I have seen in any movie. Overall, I liked North to Alaska, it was entertaining. 8/10 Bethany Cox

This is a great movie. Funny and entertaining.

Each of the characters could fill up a movie by themselves. Ernie Kovaks steals the show as the ultimate cheat and chiseler. John Wayne knows he is doing a parody of himself, plays it to the hilt and pulls it off brilliantly. Capucine is a classy lady. Even though she works in a bordello, you somehow know she's a nice girl. Even Clancy the shaggy dog has a great role. Johnny Horton's title hit, North to Alaska, is his best song ever. Classic cowboy movie fight scenes at the beginning and end.

A total hoot.

Hathaway's genial directing style, with its frequently rich mise-en-scene, seemed to suit Wayne's later career, and some of the films which resulted remain firm favourites today. Before the overrated True Grit (1969) and the underrated Sons of Katie Elder (1965) came this typically rumbustious piece. Wayne's first real foray into self-mocking comedy, North to Alaska is not as broad humoured as McLagen's McLintock! (1963) but still suffers from a degree of sexism which some modern viewers may find annoying, others just ironic. It is redeemed by being a very good natured film with a strong set of performances by the central cast, as well as some handsome production values.

It's interesting that the film opens as the all-important ‘strike', at least in a conventional sense, has already happened. Despite the future depredations of Frankie Canon (a well-cast Ernie Kovacs), Sam (Wayne) and George (Granger) will continue to enjoy their new-found wealth. Sam in particular seems to be perpetually well heeled, with a thick wad of the folding stuff always to hand. These two prospectors are now concerned with a second, more pressing ‘mother lode' - this time of the heart. The film is less about rich seams of ore than the veins of romance, with Sam, George and Billy (Fabian) each doing their own emotional ‘prospecting'. When Sam heads South to recover George's fiance, it turns out that he is being just as adventurous as leading a pack

Hathaway was brought into the project after Richard Fleischer's departure, and the finished result shows an interesting balance between the veteran's predictably sure touch as well as the improvisational nature of some of the filming. Wayne apparently thought of the film as being little more than a contractual affair, and the great success of the finished product was presumably a surprise. While some modern viewers may balk at the comedic sound effects added during the two big fight scenes, more reminiscent of Tom and Jerry than a Western, arguably Wayne's great ‘jealousy scene' is one of the greatest sustained moments of comedy in the actor's career. It seems likely that Hathaway recognised this during filming, as he dwells upon this enjoyable moment (George pretending to make out with Angel in the Honeymoon Hut while Sam fumes across the water) as long as possible, giving the scene amplification and timing which would have been impossible to write into a script.

Being respectively indifferent, enthusiastic, and besotted, in their own ways Sam, George and Billy each represent varying attitudes to women and romance. It's their continuing education in such matters that's at the heart of the film, and provides the principal interest. Far more so than the claim-jumping plot which, while it provides some dramatic excitement and degree of suspense, is actually of little consequence. (It provides an useful parallel, though, when George assumes that Sam has usurped his ‘claim' on his newly arrived fiance's affections.). Sam's change of heart is fittingly the most momentous - moving from the cynical "(The) wonderful thing about Alaska is that matrimony hasn't hit up here yet." to the grudging public announcement "I love you!" to Angel, and the wedding bells that surely follow. Billy's romantic naivite also undergoes a transformation of sorts, as he experiences his first strong crush then gentle, inevitable rejection. By the end he has to reconcile the ‘loss' of Angel with Sam's ob