This has been my favorite movie from the first time I saw it as a kid. When Videos first came about, I sought this on lists of new releases as often as I came across such lists. When It finally did come out, I had one VHS in color and one in B&W. I can't tell how many times I've seen this gem, but I do believe I have the lines all memorized, and I "know" the ladies. It has become a perfect back- ground movie for me.In fact, when my sister and I first saw this in the early 60's, we loved the "I can't pay the rent" joke so much that we've shared it all of our lives. When my children finally saw the movie (in VHS), they were excited to see Ito tell this joke that they'd heard their whole lives.Even having read everyone else's reviews, I still don't see any failings in the movie. It's great escapism! I can tell you of some "flaws" (crossing tire tracks in the desert scenes, for example), but to me, they're just charming fingerprints left by the director. My only problems are that I want more! I wanted to stay with the women as they developed the town...to see Patience and her husband be leading citizens, to watch Fifi throw pans at Buck, and to watch Rose Meyers dear husband help her raise her son.I'd love to see someone remake this great movie--but only if they are true to the intentions--and allow us to continue to share their western lives. It would be terrible, however, if they spoiled it with 21st Century trashiness. Time to go watch it, again. :)

An unvarnished look at the hard road that a group of women settlers have to face on a wagon train journey to California. Nothing is glamorized and the cost of the trip is honestly depicted as heavy with human lives. As with real life even in tough times there are humorous incidents that happen and they enrich the story and the film. Robert Taylor not usually the most facile of actors is well suited to this role, his weathered appearance and hard manner make the rough but fair wagon master relatable. Hope Emerson stands out as a no nonsense, plain spoken traveler but all the performances are very good. Written by Frank Capra who was too busy to direct fortunately, his style wasn't suitable for the story, he handed this over to Wild Bill Wellman who turned out to be a perfect fit. An involving, unusual picture.

A top ten favorite. From the first time I tuned in partway through, this movie has been special to me. For years, I read the movie guide every week waiting for it to come on. A full explanation would take a chapter, and much of what I'd say has been said quite well by others, but here are some aspects of it.The ensemble cast is superb. It could even be that not knowing most of their names (until IMDb came along!) made them even more real, and their reactions to everything from tragedy to new life rings true all the way. Little details that I didn't see the first few times keep it fresh, too: after Jean and Maggie's antagonism boils into a fist fight, they quietly become friends. I could wish that Henry Nakamura's character wasn't such comedy relief, but he's tough and stands up for himself and defies The Boss in his way.Nothing comes cheaply or as a throwaway. The light comedy at the end has the resonance of 1500 miles of heartbreak to leaven the laughter. The emotions that the movie draws are all earned. Characters who die go in unromantically realistic ways, and aren't telegraphed in any heavy-handed way, and their loss hits hard every time I see this.As the women develop, Buck's attitude changes. At the end of the movie, he respects them fully. (Interestingly, Buck's slips from the moral high ground are accompanied by tragedy: When he falls in love with Dannon, Indians attack the wagons. When he gets drunk, Laurie drowns in the flood.)There's so much to watch this movie for, and it rewards every viewing. That's why it's one of my favorite movies.

This film invites some questions regarding its premise: a mid-1800s California town has no women; so, Robert Taylor (as Buck) is hired to bring over 100 women across the country, to mate with the waiting men. Certainly, there were women closer at hand; but, in those days, there were not enough to go around. It does appear like there are absolutely no women in this town; otherwise, it's a fine looking place.Mr. Taylor is the leading man; he manages to always appear well-manicured, even in his beard. But, the real stars of the film are "The Women"; they are a collection of relatively lesser known performers, who are beautiful through their blood, sweat, and tears. "Westward the Women" is most refreshing in its portrayal of pioneer women as something more than damsel appendages; this film theme is not revolutionary, but it is not very often a focus. The women outperform Taylor and his men at every turn. Even when dead, they "move".Hope Emerson (as Patience) is the most welcome addition to the wagon train. Denise Darcel (as Fifi Danon) is the one to watch fall for Taylor. Interestingly, Taylor forbids any of his men to hook up with any of the women; when they inevitably do couple up, he shoots the men -- but, the rule changes after he succumbs to the sexual urge. Japanese "boy" Henry Nakamura (as Ito) is content with a dog. The dog is a real highlight; but, only makes a rare appearance after Mr. Nakamura retrieves it, from Tony's grave.The peak of the movie occurs after several of the men take eight women, and leave. This means the remaining women must become even more resourceful. During a shooting lesson, a tragedy occurs, which symbolizes the women's great challenge, and illustrates their great strength. The women eventually take over the mission and the decision making; of course, Taylor is proud. Director William A. Wellman and photographer William Mellor perform very well; the wagon mishaps are suspenseful, and Mr. Wellman heightens interest throughout. The film looks great either colorized, or in black and white; real 1950s color would have been a glaring error.