The Winning of Barbara Worth as seen on a nicely restored DVD in MGM's Gary Cooper Collection, is a beautifully filmed, well acted, "modern" western with impressive special effects in a spectacular flood scene. Unfortunately the sappy, simplistic story -- more suitable for a Saturday matinée kiddie western than a top dollar movie -- undoes much of the good imparted by the high production values. It is hardly the classic many have over-rated it. It is still fairly entertaining and worth watching, if nothing else for the curio value of seeing a young Gary Cooper in his first big roll, playing second banana behind well-established star Ronald Coleman.

The cinematography by Georges Barnes and Gregg Toland are really what save this movie from being an over-baked turkey. The shots of the desert especially in the opening sequence are breathtaking. The effects were greatly enhanced by the burnt sienna sepia tints used in this monochromatic color movie for all scenes, indoor and outdoor, except for the night scenes, which were the traditional blue. Director Henry King does an excellent job with the action sequences, especially the panicked crowd of townspeople fleeing from onrushing flood waters. On the other hand he handles his actors in the drama scenes in a very stilted and high histrionic manner already going out of style in this the late silent era. There were times when I feared Vilma Banky would wear the front of her beautiful blonde hair off from repeatedly throwing the back of her hand to her forehead. Ronald Coleman, nevertheless, managed to keep his understated (for the silent era) acting style in trim throughout. Cooper, no doubt being less sure of himself at this early point in his career, sometimes succumbs to deep silent histrionics. In a few scenes, however, we see flashes of his brilliantly understated style of the future.

The story, based on a Harold Bell Wright novel, relies on two hackneyed plot devices -- 1) a syrupy love triangle with Coleman and Cooper both smitten by the lovely Banky (and what men wouldn't be!) 2) A robber baron speculator exploiting the poor folks. The robber baron being Coleman's father ties the two together. That wouldn't be so bad, since they ran out of new stories centuries ago, but neither of the two plot lines is very well developed, and plot holes abound. For instance, why was the rich robber Baron so set against spending the money to reinforce the dam, when it was his investment, the town, which would be washed away if the dam broke. And no less a trusted authority than his engineer son had advised him it was likely to burst. As to the lovey-dovey stuff, Vilma's relationships with neither of her two suitors was well developed enough to justify all the fuss.

A good watch nevertheless. But a pretty crude movie in many ways for the late silent era. Compare with the Greta Garbo opus The Temptress, released the same year. Wouldn't be fair to compare sweet little Vilma Banky's E-for-effort acting with that of the Great Garbo! I won't. But the general style of the acting in The Temptress is much more sophisticated and so is the story line, though both are still plenty florid by the later talkie standard. The Temptress also features a dam burst, and it is every bit if not more spectacular than the one in Barbara Worth.

A criticism has been made that there are too many cutaways for dialog placards in this picture, and I must agree. But this seems to have been a common ailment creeping into late silent movies, possibly in an effort to bring a deeper dramatic depth to the movies. Perhaps this was simply a sign that is was time for the movies to start talking. And that was right around the corner!

------------------------- A Special Thanks to fellow reviewer simonton-4 for cluing us in on the source of the pipe organ music score of the current DVD (see his review). The fact that it was a live, improvised performance recorded at a showing of the movie explains why we occasionally hear laughing, coughing, scuffing of feet. It gives the viewer a sense of what it would have been like watching The Winning of Barbra Worth in a 1926 movie house with only a live performance of one or more musical instruments providing sound for the movie. Much more like the original silent movie viewer's experience than the tightly synchronized orchestral scores usually canned with the dvds, which in effect makes them technically sound movies (see my review of Old Wives For New for a further discussion of this issue).