Celluloid : the film to-day (1931)

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CIMARRON 159 of land, which he has coveted since the time he rode the waste lands of the Cimarron country. Nearby is Dixie Lee, a prostitute, equally bent on securing land for herself. Through the babel of voices there comes the sound of the shot. From every side the pioneers race forward in their fanatical rush. The air is filled with their cries and the sound of roaring wheels. Over, round, below the camera into the audience itself. Yancey has broken away from the others. As he crosses a deep gully, he is overtaken by Dixie Lee, but in putting her pony to the slope it stumbles and breaks a leg. Yancey helps her up and draws his gun to put the animal out of pain. As he does so, Dixie mounts his own horse and is away to stake the land of which Yancey had dreamed. Yancey returns home tt> his wife and paints a vivid description of the adventurous life which lies before them in the new country. That night he sets out by wagon on the long trek to Osage with Sabra, his son and a negro boy. Nine days later they arrive at night in the boom-town — a city of wooden huts arisen in one day — a fairground of prospectors, gunmen, travellers, outlaws, prostitutes — humanity from every corner of the United States hoping to strike lucky in this wave of excitement and progress. Yancey learns that the last editor of Osage has been shot in the back for publishing too much news in his paper, and fired with this opportunity he announces that the first issue of ;< The Oklahoma Wigwam " will be published within a week, and in it he will print the name of the man who murdered his predecessor. In the lawlessness of Osage, Sunday is still God's