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Absolutely Fantastic

In truth, there is barely enough story here to make a film.

Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Very entertaining blend of war between obstinate opponents in a stock-raising corner of Wyoming(WY), intertwined with a pioneer women's rights movement, and interspersed by periodic bouts of slapstick comedy, mostly involving star Doris Day. I'm very surprised that no one has commented on the very similar theme of this story to that of Doris's reported favorite film: "Calamity Jane", made about 15 years earlier. In fact, the even earlier "Anne Get Your Gun", which Doris so wanted to star in, also has the same theme. Of course, these two earlier films were musical romantic comedies, whereas the musical part is absent from the present film, except for a couple of background songs, including the title song. But, all 3 films involved a women in the Wild West or a Wild West show trying to show that she can be as tough or skilled as a man doing something(s) generally considered an exclusively male skill or occupation, trying to be an independent woman, while also wanting to be desired by the man of her choice.Calamity Jane eventually turns into contemporary Doris Day at the end. It's the same in this film, after a wild ride of Jose(Doris) trying to prove that, as a newly widowed townie, she can cut it as a sheep owner in cattle-only WY country, with only a couple of shepherds and sheep dogs as aids. Unfortunately, we never get to find out if this would have worked out well, because a 'posse' of cattlemen are determined to destroy her operation. Urbane Jason(Per Graves), who obviously has had the hots for Jose for some years, is caught in the middle, trying to dissuade Jose from sticking to her very unpopular dream, while helping to protect her and her flock from the intended depredations of the adversary cattlemen. We never learn what Jason does for a living, but he clearly has political skills, which are severely tested throughout this story,and is running for US senator for the new state of Wyoming in the finale scene. This story supposedly takes place in Arapahoe county, in the SE corner of Wyoming, around 1890, when the citizens of WY are applying for statehood. Well, there never was an Arapahoe county here, But, due south, in north central Colorado(CO), there was(and still is) an Arapahoe county, which at that time included Denver. Historically, most of the sheep-cattle wars in this region involved northern CO cattlemen attacking sheepmen in or from neighboring WY.However, the screenwriters wanted to include the issue of women's civil rights in the story. Thus, they wanted to site the story in WY since, historically, that's where women first acquired voting and some other civil rights within the US. Although it is briefly alluded to in the film(by DA Charlie Ward and Jose), you may not have caught the complicated situation regarding women's civil rights at this time. WY territory women had been granted voting and certain other civil rights in 1869: the first in the US, after a minimal campaign. When this story takes place, the US Congress is strongly opposed to approving a proposed WY state constitution which includes the civil liberties women enjoyed under the territorial government(historically true). That's what the fuss is about, with the cattlemen's opposition to Jose's legal right to choose to raise sheep being transformed into a political battle between the sexes. But, that's not what Jose wants! She just wants to be left alone to pursue her dream. Unfortunately, that's not to be, as the men, including Jason, finally convince her to change her dream. She decides her revolutionary sheepwoman dreams aren't worth people killing each other, barns being burned, and WY territory being rejected for statehood. She also confides in her pet skunk that too much independence and daring tends to make a miserable life for a woman.(Incidentally, Congress finally gave in and allowed WY state women to vote).Doris may have been in her early 40s when she made this film, but she was just as spunky, funny and adorable as she was 15 years earlier in the making of "Calamity Jane". I don't understand why she likes the earlier film, but not this one. Maybe she didn't like the then unfashionable message in the unexpected ending? No matter, she still gives it her all.Like Errol Flynn, in "Montana", Jose herds her sheep through the town's main street to clearly announce her unpopular intentions to all. However, unlike Jose, Flynn succeeds in keeping his flock and convincing some cattlemen to include sheep, despite the vigorous opposition of a cattle queen. The men(man) win the war of persistence against a woman in both films!Why didn't Jose defend herself against the accusation that she deliberately pushed her chronically unemployed drunk abusive husband down the stairs to his death? Did women have the right to testify in court on their behalf then?George Kennedy(as Arch) is good as the leader of the opposition to Jose's sheep flock, as well as the most vocal opponent to women's civil rights. Andy Devine tries to be an impartial judge, and William Telman makes an often sympathetic forceful DA(and seemingly acts like the territorial governor). Timothy Scott, as one of Jose's shepherds, does a great impression of a sympathetic southern hillbilly. The other character actors and actresses generally were also good.

Doris Day, in my opinion has given only two "bad performances." One was in "Do Not Disturb" and the other in "That Touch of Mink." And, it wasn't so much Doris' fault...it was the scripts and unwise directors who tried to keep her pure as the driven sunshine."Ballad of Josie" had spunk. It was about a woman who decided to take control of her own life after having been a battered wife. She needed to take care of her little boy and she felt that she didn't NEED A MAN to do anything FOR her. We should be applauding, not hissing this independent woman.Day didn't want to make this film (her husband had signed for her to do it), but she felt, "a deal's a deal." She put 110% into Josie Minick and she gave a VERY professional performance. No surprise to me, because Day always gave her all, even with drivel like "Disturb" and "Mink." As an actress, she fulfilled her obligation and then some in this part. Could Shirley MacLaine or Debbie Reynolds have given a more convincing performance? I think not. Doris' approach to any scene is so natural, people forget that she's acting. Therefore, audiences and critics ignore what an incredible job she's done, despite poor scripts.This is not among Doris Day's great films, but she was wonderful in all of her scenes. The script? It wasn't the greatest, but it wasn't the worse. I felt that her supporting cast was well-represented by some of the best character actors in the business. She got marvelous support from Andy Devine, William Talman, Peter Graves, George Kennedy, John Fiedler, Audrey Christie, David Hartman, Elizabeth Fraiser, Paul Fix, etc. And, didn't she look incredible in those jeans?!!!!!!!!

It is a shame that the writing is so poor, with just a little bit of work this could have been a very good movie. The supporting cast was very strong and went out of there way to do the best they could but the lines were very poor. It was a Doris Day comedy so one doesn't expect a deep movie but with the cast they had , with a little bit of work it could have been a very cute good Doris Day film. However, it turned out to be one of her poorer films. I would love to ask the writers the reason they turned out such sloppy work, they are professionals and I know they put the time in. I am sure they know who the actors are and wonder why they felt they could do such a poor job here.

One of Doris Day's lesser-known entries from late in her film career, one even she wishes she had passed on. Feisty female turns rancher in this feminist western, butting heads with the local-yokels in a distaff variation on "The Sheepman". Doris doesn't look her best here (blame it on that wig), although her conniption fits are as funny as ever. When Day gets her ire up, it's really something to behold. But the film is unbelievably anachronistic, especially since this was 1967. No wonder she later turned to TV; this plays like a failed TV pilot, with a supporting cast to match! Directed by genre-mainstay Andrew V. McLaglen, who must have been looking at his watch. *1/2 from ****