Way Out West
"He's a 'Wise Guy' from the East—Learning about the 'Wild West' from a Girl!"
Plot
Windy, a fast-talking carnival barker and con artist, travels to the American West where he successfully swindles a group of rugged cowboys out of their hard-earned money through a series of rigged games. However, his luck runs out when the cowboys discover his deception and force him to work off his debt as a ranch hand on the property owned by the beautiful Molly Rankin. While Windy initially struggles with the grueling physical labor and the culture shock of ranch life, he begins to genuinely fall in love with Molly, leading him to attempt a sincere reformation of his character. His path to redemption is complicated by the ranch's stern foreman, Steve, who views Windy with deep suspicion and is also a rival for Molly's affections. The tension culminates in a dramatic showdown where Windy must prove his bravery and loyalty to the ranch to win Molly's heart and earn the respect of the men he once cheated.
About the Production
The film was produced during the industry's delicate transition from silent films to 'talkies.' While Fred Niblo was a veteran of silent epics like 'Ben-Hur,' this project required him to balance the physical comedy of star William Haines with the technical requirements of early sound recording. The production utilized location shooting in the California desert to provide an authentic Western atmosphere that contrasted with the theatricality of the early carnival scenes.
Historical Background
Released in 1930, 'Way Out West' arrived during the first full year of the Great Depression. Audiences were seeking escapist entertainment that featured fast-talking, resilient protagonists who could navigate their way out of trouble. Historically, the film sits at the crossroads of the 'Jazz Age' cynicism of the 1920s and the more grounded, populist themes that would dominate the 1930s. It also represents the peak of the 'Wisecracking' archetype that William Haines perfected, a persona that would soon fall out of favor as the Hays Code began to strictly enforce more traditional moral standards in cinema.
Why This Film Matters
The film is significant for its portrayal of the clash between urban and rural American identities. It serves as a cultural artifact of the early sound era, showcasing how studios attempted to translate the charisma of silent film idols into the new medium of dialogue-heavy comedies. Furthermore, the film remains a point of interest for film historians studying the career of William Haines, who remains a pioneering figure in LGBTQ+ history as the first openly gay Hollywood star who chose his partner over his career when issued an ultimatum by Louis B. Mayer.
Making Of
The production of 'Way Out West' was marked by the high-energy antics of William Haines, who was known as the 'class clown' of the MGM lot. Behind the scenes, Haines was frequently pulling pranks on his co-stars, which helped maintain a lighthearted atmosphere during the hot location shoots in Victorville. Director Fred Niblo, accustomed to the rigid structure of silent film epics, reportedly found the spontaneity of the sound era's dialogue scenes both challenging and refreshing. Technical crews had to deal with the difficulty of recording clear audio in outdoor settings, often hiding microphones in sagebrush or under cowboy hats to capture the actors' voices while minimizing wind noise.
Visual Style
The cinematography by Henry Sharp is notable for its use of deep focus in the outdoor ranch scenes, which was quite advanced for 1930. Sharp utilized the natural light of the California high desert to create a stark contrast between the dark, cramped interiors of the carnival and the expansive, sun-drenched vistas of the Rankin ranch. The camera work is relatively static compared to later Westerns, a common limitation of early sound films due to the bulky soundproof 'blimps' required for the cameras.
Innovations
The film is a testament to MGM's rapid mastery of sound synchronization. One of the technical achievements was the successful recording of dialogue during action-oriented scenes, such as the horseback riding sequences, which required innovative microphone placement and the use of early portable recording equipment.
Music
The soundtrack features a mix of traditional Western motifs and early 1930s orchestral arrangements. While not a musical, the film utilizes diegetic sound—such as the noises of the carnival and the sounds of the ranch—to immerse the audience in the environment. The musical score was supervised by MGM's music department, focusing on upbeat, comedic themes that underscored Windy's various schemes.
Famous Quotes
Windy: 'I've got a system that can't lose, as long as the other fellow doesn't find out how it works!'
Molly: 'Out here, we don't judge a man by his talk, but by what he does when the sun goes down and the work's still there.'
Steve: 'You might be a big shot in the city, but out here you're just another hand—and a poor one at that.'
Pansy: 'I've seen a lot of snakes in my time, but you're the first one that wears a necktie!'
Memorable Scenes
- The opening carnival sequence where Windy uses his 'Gift of Gab' to manipulate a crowd of skeptical cowboys.
- The scene where Windy attempts to milk a cow for the first time, resulting in a slapstick disaster.
- The climactic confrontation between Windy and Steve during a dust storm, where Windy proves his mettle.
Did You Know?
- This film was one of the last major successes for William Haines before his forced retirement from Hollywood due to his refusal to hide his homosexuality.
- The film is often confused with the 1937 Laurel and Hardy comedy of the same name, though the plots are entirely different.
- Polly Moran, who plays Pansy, was a major silent film star often paired with Marie Dressler; her presence in the film provided a strong comedic anchor.
- Director Fred Niblo was nearing the end of his illustrious career when he directed this film, having been one of the highest-paid directors of the 1920s.
- The 'carnival barker' persona played by Haines was a popular trope of the era, reflecting the public's fascination with urban 'slickers' versus rural 'rubes.'
- The film features early sound-on-film technology, which was still being perfected by MGM at the time of production.
- Leila Hyams was a former model and one of the most sought-after leading ladies of the early 1930s, appearing in 'Freaks' just two years later.
- The movie was marketed as a 'Western Comedy,' a genre that was becoming increasingly popular as a way to modernize the traditional Western formula.
What Critics Said
At the time of its release, 'Way Out West' received generally positive reviews, with critics praising William Haines' impeccable timing and the chemistry between him and Leila Hyams. The New York Times noted that while the plot was somewhat conventional, Haines' performance breathed life into the 'wise-guy' character. Modern critics view it as a charming, if lightweight, example of early 1930s studio filmmaking, often highlighting the comedic contributions of Polly Moran as a standout element of the production.
What Audiences Thought
The film was a commercial success for MGM, appealing to both urban audiences who enjoyed Haines' sophisticated banter and rural audiences who appreciated the Western setting. It solidified Haines' position as a top box-office draw, a status he would maintain until his abrupt departure from the industry in 1933.
Film Connections
Influenced By
- The Virginian (1929)
- The silent comedies of Buster Keaton
- The fast-talking 'city slicker' tropes of 1920s literature
This Film Influenced
- The Cowboy and the Lady (1938)
- City Slickers (1991)
- Various 'fish-out-of-water' Western comedies
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Film Restoration
The film is preserved in the MGM/United Artists film library. High-quality prints exist, and it has been aired on Turner Classic Movies (TCM) as part of retrospectives on William Haines and early sound cinema.