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164 CELLULOID
any other reason than that he loves her, and has loved her ever since the day when she stole his horse and his land at the gully in the great rush. In fact, whatever Edna Ferber's book may have demanded and however it may have destroyed the epic rise of Oklahoma, the story of Yancey Cravat (if this be the aim of the film) should have ended here at his reunion with Dixie Lee. If this had been so, the film would have in some measure retained its unity and have achieved an interesting rhythmic construction.
But the film which Radio Pictures present draws to an anti-climax which may or may not be good publicity for American womanhood, but is, in my opinion, far from being well constructed entertainment. True to Hollywood conventions, the centre of interest of Cimarron is the personality of Yancey Cravat, which is superior even to the rise and growth of Oklahoma. We cannot at this stage expect an American entertainment picture to be concerned solely with the presentation of an epic theme, even though that theme be the life-blood of the true American citizen. But Dix plays Yancey with a strong hand, and we are definitely interested in his character up till the moment of the death of " The Kid." After the opening thrill of the land rush, it is the force of Dix and his dominance over Osage that gives impetus to the film. From this high-spot of the duel onward, however, Wesley Ruggles cannot make up his mind which course to pursue to the conclusion. Eventually, after boggling over the Dixie Lee trial, he flings continuity to the winds and does his best to put across Sabra (who so far has been incidental) as the model of the Pioneer