In 1929 Zane Grey published
The Fighting Caravans, a novel about a scout who leads wagon trains across Native American lands to the Oregon Territory. Grey was already a best-selling, brand-name novelist with a deal at Paramount, and that studio came out with a
movie version of the book in 1931.
Aside from the basic situation, however, the
Fighting Caravans film had little to do with Grey’s novel. The book follows hero Clint Belmet from childhood to a career as a cross-country “freighter” driving wagons. He loses his mother, childhood sweetheart, father, best friend, dog, childhood sweetheart’s adoptive father, and childhood sweetheart turned fiancée to various groups of Indians. At the end [SPOILER] he finds his childhood sweetheart again.
In contrast, the movie focuses on the movement of a single wagon train. Gary Cooper plays Clint Belmet, a scout rather than a freighter. Orphaned as a child, he’s been raised by two grizzled scouts; those characters come not from the novel but from a previous Paramount western,
The Covered Wagon (1923). At the start of the story, Belmet and a French woman meet cute in Independence, Missouri. They pretend to be married, he to get out of jail and she because she thinks single women aren’t allowed in the wagon train.
A lot of the movie’s comedy involves Belmet trying to enjoy the benefits of that sham marriage. Meanwhile, his two dads try to keep him away from women. Also along on the journey is a wagon of what are obviously, if not explicitly, prostitutes. [SPOILER: Those women all marry men from the wagon train at the end of their journey.]
The most striking parts of
The Fighting Caravans come from the second unit, which filmed an actual long train of wagons moving up and down hills, across snowy plains, and over rivers. Those long shots show where the movie’s budget of close to a million dollars went. I assume the men moving the wagons in those scenes had actually done that work as a living not too long before.
In 1933 Paramount released a second adaptation of Grey’s novel, this time titled
Wagon Wheels. Why so soon? Evidently because of the Hays Code. Though the major Hollywood studios officially adopted that set of moral guidelines in 1930, the first couple of years of enforcement were a joke. Indeed, in 1931
The Hollywood Reporter quoted a screenwriter saying, “The Hays moral code is not even a joke any more; it’s just a memory.” But more public pressure forced the studios to strengthen the system, and by 1934 it had become a rigid set of rules.
The Fighting Caravans had no chance to get past the censors into theaters again.
Wagon Wheels was just as far from Grey’s novel as
The Fighting Caravans was, but it was almost as far from its cinematic predecessor. The hero was still scout Clint Belmet, now played by Randolph Scott. He was still working with two grizzled older scouts, but there’s no suggestion those men constituted a family. And the new movie had an entirely different attitude toward marriage.
The female lead was Gail Patrick, not yet typecast as the overly respectable other woman in screwball comedies but respectable enough. She played a young widow with a little boy—actual four-year-old Billy Lee, enjoying himself immensely. There’s no fake marriage. Instead, she and Belmet start out at odds and become close over time. The old scouts don’t try to get in the way of that relationship; in fact, one of them marries another woman in the train. There’s no wagon full of ladies of the evening, to be redeemed or not. What’s more, there are multiple musical numbers.
The major overlap between
The Fighting Caravans and
Wagon Wheels is the footage of the wagons on the move. And that’s because it’s the same footage, simply recycled and redubbed into the new movie. That’s why Paramount could make
Wagon Wheels for only a quarter of the cost of the earlier picture. And, now that the Hays Code was in force, it could play in theaters and later on TV.
