"The Sea of Grass" Review

 

by Daniel White

In 1999 the American Film institute compiled a list of the 25 greatest actresses, whom they declared were "American screen legends." What does one have to do to be a "screen legend?" According to the AFI, you must have made your film debut prior to 1950, and have a "significant screen presence."

The one caveat? You can appear in your first flick AFTER 1950, but only if your "death has marked a completed body of work." The list is flawed and there are glaring omissions. No Clara Bow, Betty Grable or Susan Hayward. While I respect Sophia Loren, I don't believe she belongs on it (the arbitrary rules cancel her out, she SHOULDN'T be on it). Grace Kelly over Doris Day? Ava Gardner over Irene Dunne? Lauren Bacall over Lassie? Don't get me started on Shirley Temple, who failed miserably in her bid to transition to adult stardom. As Auntie Em might say, "Pshaw!" Katharine Hepburn nabbed the number one position and I suppose she deserves it as much as anyone. You may not like the "Great Kate," but you gotta hand it to her. A star after her first film, 1932's A Bill of Divorcement, she remained at the top of her profession until her death over 70 years later.

1947's The Sea of Grass was her fourth pairing with pal Spencer Tracy. And until she went riding the rapids with John Wayne in Rooster Cogburn almost 30 years later, her only Western. It was director Elia Kazan's sophomore outing as a filmmaker after the successful, well-regarded, A Tree Grows in Brooklyn. Kazan would speak disparagingly of the film, bemoaning the fact that he was denied on-location shooting. Yes, filming on the prairies of New Mexico would have enhanced the quality of this high end soap opera, but it's a better movie than he lets on.

Kate plays Lutie Cameron (Lucretia?), who, when the film opens, is in her hometown of St. Louis. Preparing for her imminent wedding, she receives a telegram from her betrothed, Colonel Jim Brewton (Tracy). Informing her he will marry her in New Mexico instead, she willingly acquiesces and heads out west. Lutie soon surmises she will be playing second fiddle to cattle baron Brewton's acres and acres of cow-grazing country. Determined to keep his spread from being taken over by homesteaders, Brewton proves to be a bully, if not an outright tyrant. Worn out by the constant struggle over the land and feeling neglected, Lutie escapes to Denver, where she has a one-night stand with her husband's nemesis (Melvyn Douglas), a lawyer who fights for the rights of the farmer.

The film is frank in portraying Lutie's adulterous fling and explicit when she gives birth to a son, that he's been fathered by Brice Chamberlain (Douglas). Tracy would have remained oblivious of the affair, but while he's hanging around the delivery room, a delirious Lutie spills the beans! It's all rather melodramatic (Kate is punished accordingly for her indiscretion), but Hepburn is compelling. Even though Tracy appears subdued, almost distracted (you get the feeling he'd rather be anywhere other than where he is), their on-screen chemistry is palpable and goes a long way in keeping things interesting.

Hepburn looks amazing in creations by designer Walter Plunkett (Kazan was unhappy with her wardrobe) and the cinematography by Harry Straddling is impressive. The screenplay is solid, the supporting players pithy and the musical score pleasing, if familiar (Herbert Stothart, who composed the music for The Wizard of Oz handles it here). While no masterpiece, The Sea of Grass is a testament to MGM's proficiency at providing watchable entertainment. Based on the novel by Conrad Richter, The Sea of Grass is currently available on YouTube.