. . . following his first Tour of Duty in the Philippines (BACK TO BATAAN and THEY WERE EXPENDABLE were his subsequent Filipino forays). Big Oil tries to cheat the Native Americans IN OLD OKLAHOMA, but just as pharmacist Wayne gunned down all the would-be Gold Rush claim jumpers IN OLD CALIF0RNIA, cowboy Wayne guns down all the oil field saboteurs here. When the oil's not being pumped, Wayne finds time to fall for a lady novelist, just as he'd later do in WITHOUT RESERVATIONS. But despite this confluence of "old" states, Pacific TDY's, writer chicks, and reservations, the main focus here is on Oil Industry Shenanigans. We've all experienced these personally: Gas was 89 cents per gallon during the Clinton Presidency, and it was a same price--at least for awhile--with Obama in the White House. But when Oil Giant Enron bribed the U.S. Supreme Court Rich People Party "Justices" to appoint a patently Unconstitutional team of TWO Texas Oil Men Election LOSERS to our Highest Offices, the price of gas stayed North of $4 per gallon for Eight Longggg Years, as all Heck broke loose with 9-11, Katrina, Iraq, and Afghanistan murdering many thousands of Americans (who'd be alive Today if the Rich People's Party had not prevented Clinton from serving four terms in office, as did our great leader FDR). If Wayne had been around 15 years ago, no doubt he'd have gunned down all of these Oil Crooks!

This film is also very commonly known as "War of the Wildcats". As you watch it, the movie sure looks like a B--but with just a bit more polish, a bit longer running time and a bit more in the way of budget. This is because the film is sort of like a transitional film for Wayne. While he played in a ton of Bs during the 1930s, around 1939 (with "Stagecoach") he began playing in better and better films. But many of them looked a lot like Bs and felt a lot like Bs. His bigger budget studio projects were still a few years ahead.The film begins with a feminist author (Martha Scott) leaving her tiny town. Apparently the local prudes were angry at her writing such a scandalous romance novel--and you get the impression that it really isn't THAT bad. In fact, it really can't be because Scott is a school teacher and never really lived a worldly life in this town. So, at the urging of the women, she is determined to see the world--and be more like one of her characters. But, she is conflicted and isn't quite sure where to go or what to do. Her dull old aunt wants her to live with her in Kansas City--but when she meets a big-time oil man (Albert Dekker), he convinces her to follow him to the oil fields and promises her wealth and excitement. There are two problems with this. First, Dekker is a bit of a pig and an ego-maniac. Second, John Wayne pops into her life--and back then he was a major hunk. And, since he was the star, it's not especially surprising where it all ends. In the middle portion of the film, Wayne and Dekker vie for power and fight over oil land that the Indians are willing to lease. But Dekker is determined not to play nicely--and seems willing to use some dirty tricks to make sure he alone gets these leases.Overall, this is not an especially deep film nor is it very realistic. However, it is fun--and that is very important. Gabby Hayes and especially Marjorie Rambeau provide some fun support and color.

One of Poverty Row studio Republic's intermittent big-budget efforts, War of the Wildcats is a lively, if fairly routine, western notable for its early 20th-century setting. Wayne plays Daniel F. Somers, formerly one of Teddy Roosevelt's rough riders, who finds himself entangled in a love-and-oil battle with Albert Dekker. Wayne is fairly amiable here, representing the old west and the little man forced to adapt in the face of modern technology and the dawn of big business. Dekker, of course, represents this future. He drives one of them new-fangled auto-mobeels and is erecting oil wells just as fast as he can. He is also dismissive of the native population – he even has one, a Cherokee, scrub his back as he takes a bath – while Wayne shows them respect and receives it in return. I'm not quite sure how that stacks up today, given our knowledge that the treatment of the native American by the old west fell somewhat short of what can be considered fair.Anyway, possibly the best aspect of this film is that Dekker's character isn't portrayed as an out-and-out villain, driven only by greed. He is smart and relatively sophisticated, and also brave. Anyone who has ever had the experience of working with or for a 'captain of industry' (for want of a better term) or a self-made man, will probably recognise oilman Gardner's characteristics exactly as those that account for the success of these people. They aren't necessarily bad people, just ruthless enough to do whatever is necessary in pursuit of their goals.Martha Scott is a fairly bland heroine – it's difficult to see why such rugged individuals as Somers and Gardner would both be so keen to bed her. Gardner's frankness in this matter is also refreshing given the times in which this film was made. He makes no secret of what he desires from Catherine and doesn't resort to any particular underhand tactics to make his desires come true. Of course, he doesn't succeed – it would be another quarter of a century before Hollywood would allow a character like Jim Gardiner to win the girl (and the oil).

"In Old Oklahoma" or "War of the Wildcats" (its re-release title), could have been one of Wayne's better 40s westerns. It is spoiled in the first half, by Wayne trying to do the light comedy thing in his romancing of Martha Scott. It just doesn't work. There is plenty of excitement in the second half including a good fight between Wayne and villain Albert Dekker and a race to the refinery wagon race at the film's climax.Besides Wayne, Scott and Dekker, we have George "Gabby" Hayes, Grant Withers on the right side of the law, Sidney Blackmer as Teddy Roosevelt and saints preserve us, Miss squeaky clean Dale Evans playing a saloon showgirl of all things, little touchy and all. If you look closely in the railway car scenes at the beginning, you'll see "B" veterans Roy Barcroft, Lane Chandler and Tom London in bit parts.Not bad, but could have been better.