Montana Moon
"The Jazz Age Meets the Wild West!"
Plot
Joan Prescott, a wealthy and flirtatious New York socialite, is traveling by train to her father's expansive ranch in Montana. After a disagreement with her sister Elizabeth over a shared love interest, Joan impulsively disembarks at a remote whistle-stop where she meets Larry, a rugged and traditional cowboy. The two share a whirlwind romance and marry quickly, but their cultural differences immediately clash when Joan's hard-partying city friends arrive for the wedding festivities. Following a heated argument over Joan's provocative behavior with an old flame, she attempts to flee back to New York, only to be intercepted by a gang of 'bandits' led by her husband in a desperate bid to win her back. Ultimately, the couple reconciles as Joan realizes her love for Larry outweighs her desire for the city's superficial thrills.
About the Production
The film was a significant undertaking for MGM, which sent the cast and crew on a rare location shoot to Montana to capture authentic scenery, though some pick-up shots were later filmed in California. The production faced major hurdles with the Production Code Administration (Hays Office); because the script wasn't approved before filming, many scenes featuring alcohol consumption during Prohibition had to be cut entirely. This resulted in narrative gaps, particularly regarding Joan's behavior at her wedding, which appeared promiscuous rather than merely tipsy to audiences of the time.
Historical Background
Released in 1930, Montana Moon arrived during the 'shaky infancy' of the sound era and the height of the Great Depression. It represents a transitional moment in Hollywood history where the 'Flapper' archetype of the 1920s was beginning to collide with more conservative, rural American values. The film also reflects the era of Prohibition; the heavy censorship of drinking scenes illustrates the strict moral oversight the industry faced from the Hays Office even before the formal enforcement of the Production Code in 1934.
Why This Film Matters
The film's primary cultural legacy is the birth of the musical Western. By integrating musical numbers into a ranch setting, it paved the way for the massive 'Singing Cowboy' craze of the 1930s and 40s that made stars of Gene Autry and Roy Rogers. It also served as a vehicle to further Joan Crawford's transition from a silent screen 'Jazz Baby' to a versatile sound-era star, showcasing her ability to handle both comedy and musical performance.
Making Of
The location shoot in Montana was intended to foster a sense of realism and camaraderie among the cast. The actors spent their off-hours playing games and rehearsing, which helped bridge the gap between the established stars like Crawford and the supporting players. However, the lack of immediate feedback from the Hays Office meant that director Malcolm St. Clair filmed several 'risqué' pre-Code sequences—including drinking and suggestive dancing—that were later ordered to be cut. Because the crew had already returned from Montana, these scenes could not be reshot, leading to a final edit that felt disjointed to some contemporary critics.
Visual Style
The film was lensed by William H. Daniels, who utilized high-contrast lighting and soft-focus techniques to maintain Crawford's glamorous image even in rugged outdoor settings. The use of actual Montana locations provided a scale and depth that was often missing from the backlot Westerns of the period, though some scenes still utilized painted backdrops and miniatures for train sequences.
Innovations
The film is notable for its early use of location sound recording in remote areas, a difficult feat given the bulky equipment of the time. It also successfully integrated musical sequences into a non-stage setting, helping to move the musical genre away from 'backstage' plots and into more varied environments.
Music
The score and songs were composed by the prolific team of Nacio Herb Brown and Arthur Freed. Notable songs include 'The Moon is Low,' 'Happy Cowboy,' 'Let Me Give You Love,' and the title track 'Montana Moon.' The music was recorded using the Movietone optical sound system, which was state-of-the-art for 1930.
Famous Quotes
Larry: 'We're different, Montana, me and you. As different as velvet and cactus.'
Larry: 'I'm a' saying I shouldn't have gone an' put a Western saddle on a New York thoroughbred.'
Joan: 'I can't hardly look at you without getting sort of juggled up.'
Larry: 'Why I'd turn them ends up across my knee and I'd play "Home, Sweet, Home" on their southern exposures.'
Memorable Scenes
- The 'Whistle-Stop' Meeting: Joan impulsively jumps off the train in the middle of nowhere and encounters Larry, establishing their 'velvet and cactus' dynamic.
- The Wedding Dance: Joan performs a seductive tango with her old flame Jeff, leading to a violent confrontation when Larry punches the rival suitor.
- The Fake Train Robbery: In the film's climax, Larry and his cowboy friends stage a holdup to kidnap Joan and prevent her from returning to New York.
Did You Know?
- Montana Moon is widely credited by film historians as the movie that introduced the 'singing cowboy' archetype to the screen.
- Despite being a 'talkie,' MGM released a silent version of the film for theaters that had not yet upgraded to sound technology.
- Joan Crawford sprained her ankle during dance rehearsals, which delayed the start of principal photography.
- The film features Cliff Edwards, also known as 'Ukulele Ike,' who later became the iconic voice of Jiminy Cricket in Disney's Pinocchio.
- The screenplay was co-written by Sylvia Thalberg, the sister of MGM's legendary 'Boy Wonder' producer Irving Thalberg.
- The film's leading man, Johnny Mack Brown, was a former All-American football star for the University of Alabama before becoming a Western icon.
- Director Malcolm St. Clair was a veteran of silent comedy who struggled with the transition to sound, and this was one of his few talkie efforts for MGM.
- The word 'patio' was flagged by censors as potentially obscene in the context of a joke about a miracle medicine.
- The film was shot by William H. Daniels, who was Greta Garbo's preferred cinematographer and known for his glamorous lighting style.
What Critics Said
At the time of its release, critical reception was mixed to negative. Mordaunt Hall of the New York Times famously called it an 'interminable, amateurish talking picture' and criticized the sound quality and dialogue. However, it was a commercial success, as Crawford's star power was enough to draw audiences despite the waning popularity of early screen musicals. Modern critics often view it as a dated but fascinating curiosity of the pre-Code era.
What Audiences Thought
Audiences were generally more receptive than critics, largely due to the popularity of Joan Crawford and the novelty of the Western-Musical hybrid. The film turned a profit of over $326,000 for MGM, proving that the public was still interested in 'flapper' stories even as the genre began to evolve.
Film Connections
Influenced By
- Our Dancing Daughters (1928)
- The Taming of the Shrew
- Early Broadway musicals
This Film Influenced
- The Singing Cowboy (1936)
- Tumblin' Tumbleweeds (1935)
- Oklahoma! (1955)
You Might Also Like
Film Restoration
The film is preserved and remains available. It was released on DVD-on-demand via the Warner Archive Collection in 2014 and has been aired on Turner Classic Movies (TCM).