Film Review: How the West Was Won (1962)

The Western genre, once a staple of American cinema, has seen its popularity wane in recent years, making it somewhat unsurprising that the most epic Western ever made can be found in an era that many young viewers would consider "ancient". The 1962 film, How the West Was Won, is a spectacle that embodies the ambition, high budget, and sprawling plot that defined the grandeur of Hollywood's golden age. This film is a unique and unusual entry in the history of Hollywood, known for its intricate details and grand scale. As a testament to the genre's former glory, How the West Was Won stands as a relic of a bygone era, a reminder of the Western's former dominance on the silver screen.

Loosely inspired by a series of articles in Life magazine, the film's narrative spans around fifty years of the history of the Old West. Presented through a series of five episodes, the story is connected by the members of the same family and narrated by Spencer Tracy. The episodes are directed by three highly respected directors, all specialists in the Western genre: Henry Hathaway, George Marshall, and the legendary John Ford.

The first segment, titled "The Rivers," is set in 1839 and follows the Prescott family as they seek better life and embark on a journey westward via the newly opened Erie Canal. Led by Zebulon Prescott (played by Karl Malden), the family navigates rivers using steamboats and makeshift rafts. Their journey intersects with Linus Rawlings (played by James Stewart), an experienced fur trader and “mountain man” who rescues them from river pirates and forms a romantic bond with Zebulon's daughter, Eve (played by Carroll Baker). The tragic loss of her parents during their perilous crossing prompts Eve to remain behind and establish a farm, while Linus decides to stay and marry her. This segment effectively sets the tone for the film, highlighting themes of adventure, love, and loss.

In "The Plains," set in 1851, we follow Eve's younger sister Lilith (played by Debbie Reynolds), who has become a music hall entertainer in St. Louis amidst the excitement of the California Gold Rush. After seemingly inheriting a gold mine, Lilith joins a wagon train heading westward, where she captures the attention of Cleve Van Valen (played by Gregory Peck), a professional gambler seeking to escape his debts. Their journey is fraught with danger as they survive an attack by Cheyenne warriors. Upon reaching California, Lilith discovers that her mine is exhausted but finds happiness with Cleve as they embark on a new life together.

The third segment, "Civil War," shifts focus to Linus and Eve's son Zeb (George Peppard), who joins the Union militia in Ohio at the onset of the Civil War in 1861. This chapter shows Zeb participating in the bloody Battle of Shiloh—a pivotal moment that claims his father's life. Returning home as a Lieutenant in the U.S. Army after years of conflict, he discovers his mother has passed away and decides to head west to participate in the Indian Wars.

"The Railroad," set in 1868, showcases the construction of the transcontinental railroad that would connect the East and West Coasts. Zeb finds himself caught between the interests of buffalo hunter Jethro Stuart (played by Henry Fonda) and Mike King (played by Richard Widmark), a railroad magnate whose disregard for Native American rights leads to inevitable conflict. Disillusioned by violence, Zeb resigns his commission and chooses to live among Jethro in the mountains—an embodiment of his internal struggle between progress and preservation.

The final episode, "The Outlaws," features an older Zeb who has established himself as a lawman but is now ready to settle down with his family on a ranch gifted to him by Lilith. Before he can do so, he must confront a gang of ruthless outlaws led by Charlie Gant (Eli Wallach), an old acquaintance.

While Hollywood produced numerous grand spectacles during the 1950s and 1960s, few films proclaimed their ambition as explicitly as How the West Was Won. The film's grandeur is evident not only in its sweeping narrative and breathtaking vistas but also through its innovative use of Cinerama—an elaborate process designed to create immersive widescreen experiences on curved screens. The film features stunning scenes populated by hundreds of extras alongside iconic actors making brief appearances—such as John Wayne portraying General William T. Sherman during the Battle of Shiloh.

Cinerama was introduced in 1952 but was rarely employed for live-action films due to its technical complexities and need for specialised projection equipment. In How the West Was Won, this technique serves both as an asset and a drawback; while it enhances the film's epic quality beyond that of its contemporaries, it also diminishes character presence on screen at times—leading to moments where action becomes difficult to follow. Even scenes intended to be thrilling, such as a railroad robbery towards the film's conclusion, suffer from this limitation when compared to traditional widescreen formats. The problems with Cinerama are even more apparent when the film is converted to a regular picture format. Even with digital restoration fifty years later, many scenes look slightly distorted, giving the film an arthouse feel.

Musically, How the West Was Won benefits greatly from Alfred Newman's score—one that has become iconic within Western cinema. The soundtrack incorporates traditional folk ballads and popular 19th-century songs that lend authenticity to its portrayal of frontier life; some songs are even performed by Debbie Reynolds herself.

Despite its hefty budget of $15 million—a staggering sum for its time—How the West Was Won emerged as a commercial success, becoming one of Hollywood's biggest hits during its release period. Critics were generally favourable towards it; James R. Webb's screenplay garnered an Academy Award for Best Original Screenplay.

Nonetheless, even with such talent involved in its production, How the West Was Won often feels overambitious. The vast history encapsulated within its runtime could have been more effectively conveyed through films focusing on specific aspects or chapters rather than attempting to compress decades into three hours. The epic format may have been better suited for television miniseries rather than feature films; cinephiles and aficionados within Western genre circles may view this work more as an interesting curiosity rather than an undisputed classic or masterpiece.

RATING: 6/10 (++)

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