Watch The Winning of Barbara Worth For Free

Let's be realistic.

Good story, Not enough for a whole film

A Masterpiece!

Exactly the movie you think it is, but not the movie you want it to be.

A familiar title, as it was Gary Cooper's debut, I've always thought it was some sort of drama about settlers in which a fort or township called 'Barbara Worth' (as in 'Santa Barbara') gets saved at the end.However Barbara Worth turns out to be the name of the heroine, and the plot proves more of a soap opera than an action movie, as Ronald Colman and Gary Cooper vie for her affection. Who cares? Despite their combined star power, Colman has little to do, and Cooper even less. Vilma Banky is charming in the title role, but the personal drama proves remarkably uninteresting. What makes the film live is the superb photography by George Barnes and Gregg Toland - shown off to perfection in the beautiful tinted print available - and the flood created when the Colorado bursts its banks, engineered by special effects veteran Ned Mann, (best-known for his work in Britain for Korda during the 30's), who presumably also created the Dust Devil we see at the start.

Gary Cooper was one of the most consistently popular stars of classic cinema from the beginning of the talkie era to his death in 1961. However there is a lesser-known early chapter to his career, when he played supporting roles in a series of silent pictures. He never achieved stardom in this period, in part because a lot of his appeal was founded in his warm, steady voice. Still, his charming persona was enough to shine through even in these non-speaking days, as this, his first credited appearance, shows.The Winning of Barbara Worth was a prestigious picture in its day, directed by the respected and capable Henry King. King was really good at these human dramas played out against a grand backdrop. On the one hand he keeps the vastness and deadly potential of the desert a continual presence, with landscape shots that seem to go on forever. But on the other hand he is not averse to stripping away all other business to just focus us on people and their faces. There are some really neat close-ups here, such as Gary Cooper jealously spying on Vilma Banky with Ronald Colman, or Banky as she walks out on Colman. These shots aren't overused, and they seem to segue naturally into the editing pattern rather than being "look-at-this" attention-grabbers. But what is really impressive is the way King can arrange things to tell the big story and the intimate one simultaneously. Look at the scene in which the water flows into the irrigation system. The crowd cheer and dance ecstatically, but the main characters who have put more into this than any other are stood still, as if overcome with emotion. There are a handful of close-ups of various reactions, and then we see Banky and Colman share their first kiss, and all the liveliness behind them reflects the intensity of the moment. As the kiss breaks off there is a sudden feeling of awkwardness between them, and the slowing of the crowd seems to mimic this too.And this is very much a *silent* drama of reactions, expressions, motions and body language. Gary Cooper may not have his voice here but he does have that deep, sensitive face and steady, deliberate way of moving. His acting is only passable at this stage, but he has the look of a man one can implicitly trust, and this goes a long way in screen stardom. And yet for this picture Cooper is ostensibly the third wheel, behind dapper, moustachioed lead man Ronald Colman. Colman was a very decent dramatic player, and as with Cooper there was something innately likable about his manner which secured his success into the sound era. Colman is very good here, and it is only his experience as an actor coupled with his own honesty and simplicity that prevent him being outshone by Cooper. The leading lady is Vilma Banky, who shot to fame as the object of ravishment for Rudolph Valentino. In this slightly more grown-up picture she reveals herself to be a very fine actress, and like her two male co-stars she has a capacity for deeply expressive reacting. Sadly her career was to fizzle out in the sound era, probably because English was not her first language.Story-wise, The Winning of Barbara Worth is a tale of progress and prosperity that is very typical of Roaring Twenties optimism. And perhaps herein lies another reason why Cooper didn't become a cinematic icon until a few years later. The end of the silent era happened to coincide with the beginning of the great depression. Before that, Cooper's down-to-earth nature didn't really fit with the grandiose flights of fancy that made up most of 1920s cinema. However by the 1930s, cinema had suddenly become very different in its scope and focus. Heroes became ordinary men who worked for a living, and the heroin really would marry the boy next door. As it is, this picture sees Cooper as the homely type whom Banky loves as a brother. There's no real problem with this – Cooper isn't miscast, he's simply in the wrong time for lead roles – and he plays his part aptly in what is a very worthy 20s drama.

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).

I cannot tell you how excited I was to find this DVD at my local library. I have the entire collection of Wright's books and recognized the title instantly. Amazingly, the director and screenplay writer took the story as it is in the book and relayed it beautifully. This is supreme acting when you can pretty well tell what's being said even before the words show up on the screen. BRAVO!!!! This would be a great story for the history buffs as well as silent screen aficionados. This is the first of many great films starring Gary Cooper and it is easy to see why he made it in the acting field. His rival for Barbara's hand is Ronald Coleman and what a dashing rival he makes! I was unfamiliar with the heroine but she too was a wonderful actress. This is a part of history I had not been aware of until I read the book. It is a must-see!