Unconquered (1947) 720p YIFY Movie

Unconquered (1947)

Intrepid frontiersman Chris Holden foils the political and personal ambitions of renegade Martin Garth in the Ohio Valley following the French and Indian War.

IMDB: 7.14 Likes

  • Genre: Adventure | Drama
  • Quality: 720p
  • Size: 1.17G
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 146
  • IMDB Rating: 7.1/10 
  • MPR: Normal
  • Peers/Seeds: 22 / 57

The Synopsis for Unconquered (1947) 720p

In 1763, felon Abby Hale is sentenced to slavery in America. In Virginia, heroic Capt. Holden buys her, intending to free her, but villain Garth foils this plan, and Abby toils at Dave Bone's tavern. Garth is fomenting an Indian uprising to clear the wilderness of settlers, giving him a monopoly of the fur trade. Holden discovers Garth's treachery, but cannot prove anything against him. Can Holden and Abby save Fort Pitt from the Senecas? Many hairbreadth escapes.

The Director and Players for Unconquered (1947) 720p

[Director]Cecil B. DeMille
[Role:]Gary Cooper
[Role:]Paulette Goddard
[Role:]Howard Da Silva

The Reviews for Unconquered (1947) 720p

The Perils of Paulette...Reviewed byxerses13Vote: 6/10

I must confess I really like Cecil B. DeMille's pseudo historical epics. They are as fascinating to watch as a head on collision between two (2) trains and about as subtle. So lets get this clear if your looking for any sort of historical accuracy, LOOK ELSEWHERE! For hand-wringing political correctness BEGONE! The Colonial Settlers are good, the Indians bad and the British are incompetent, thats it. If you are expecting dialog by way of Hamlet thats not going to be here either. Like Harrison Ford said about George Lucas, "You can write dialog like that, but we can't say it".

The fun of this film is to watch it unfold in all it's glorious Three (3) Strip Technicolor and follow the adventures of Paulette Goddard with Gary Cooper as they move from one (1) set piece to another. For thats what this film is as series of set pieces. Or as what some critics of DeMille felt, he did not make motion pictures but moving paintings, though very entertaining ones.

"The Perils of Paulette" is what the critics referred to this picture upon its original release. I think very few actresses were put upon more then she was in this movie. She was bound (chains, rope or leather), almost whipped, almost burned at the stake, almost drowned going over a waterfall, almost raped, etc. If this had been a pre-code film I am sure we would have seen something like the excesses in 'THE SIGN OF THE CROSS'! It would have been interesting to see what ended up on the cutting room floor that could not make it past the censors. Supposedly during filming she blew up and walked off the set until DeMille could bring things down to an acting (or pain tolerance) level, referring to DeMille as a SADIST! DeMille liked troopers such as Barbara Stanwyck and did not forget this. When Paulette wanted the role of 'Delilah' DeMille told her to take two (2) drop dead pills and effectively ended her career. When the 'UNCONQUERED' was finished CB issued gold medallions to those he felt were real troopers. Boris Karloff got one (1) and the drummer boy (for not flinching when a ball of fire bounces off his drum), not Paulette.

When you watch a Cecil B. DeMille film the important thing is not to take it seriously and just enjoy the ride. There are alway some neat things that you can pick up. Though he plays fast and loose with history (most directors do to this day; Michael Moore, Oliver Stone) he gets a lot of details right. The firearms, swords, uniforms even the shape of the British star fort are all right on. There is also excellent attention to detail on the day to day life of this period of history. He did build his films from the ground up and if did not convey historical accuracy gave a good imitation. Sort of a 1940's version of virtual reality. It looks great but is not all there.

"The whole frontier's ready to bust wide open"Reviewed bySteffi_PVote: 5/10

Cecil B. DeMille undoubtedly believed in Manifest Destiny, and not just of the old-fashioned, land-grabbing, Injun-fighting variety depicted here. He also believed in a modern equivalent of his own, whereby he took his share, made his mark and crowned himself a king of the movie industry he had helped to create. This legendary arrogance carried itself over into every aspect of the pictures he produced and directed. belief Part of this arrogance involved an conviction in his own abilities to carry a movie. He would hire writers who were able to assemble a story with a decent balance of action and romance, rather than those capable of depth or elegance. Likewise he tended to cast people according to their physicality rather than their talent. Not that he always took on bad actors, but he gave them little coaching or try to fit person to persona. Paulette Godard for example falls well below her usual standard here. She looks right because she is both attractive and upstanding, but the character is far too bland for her usual feistiness. It didn't always work out badly though. DeMille's male leads could often be dull lumps grunting their way through the adventure, but Gary Cooper was really made for these more modest roles. He underplays it beautifully, and puts plenty of character into the tiniest of gestures. Then there were professional, naturalist types like Victor Varconi, who was always able to portray a credible human being no matter how leaden the script.

And if DeMille's flair couldn't quite carry a movie, it could at least prod it along a little. Remembered largely as a showman, he was more than that a wonderful visual director, with an excellent command of crowd scenes. Take the second scene on board the ship. We dolly in through the bustle of sailors going about their business, but in the middle of the frame, mostly obscured at first, Porter Hall sits tapping his cane on a case. This draws our attention to him as a character rather than an extra, even though he begins the shot as no more than a face in the crowd. This is typical DeMille – the creation of a realistic looking environment, but with the ability to bend it towards the needs of story and scene. Later in the same scene we get some great examples of extras cutting through the line of action as Godard and Cooper talk, punctuating the scene and giving it a kind of awkward feel. Again, this is both realistic and effective.

Contemporary reviewer Bosley Crowther described Unconquered as being "as viciously anti-redskin as The Birth of a Nation was anti-Negro long years back". He's not far wrong, although Unconquered is more tacitly patronising than Birth's explicit hostility. Still, you can get an impression of the tone from the fact that British horror legend Boris Karloff was cast as the Indian chief. It's not just that Karloff looks vaguely Amerindian if you squint and add a large dollop of imagination, it's the fact that in DeMille's eyes the natives are creepy boogiemen, and he casts Karloff as their leader for the same reason as someone might cast him to play a monster or a mad doctor. The fact that even critics of the day could castigate DeMille for his racism shows just how out of touch he was becoming.

Then again, there is another strand to Unconquered that we cannot see in previous DeMille efforts – one that is almost certainly due to the impact of the recent war. The picture is incredibly frank and merciless about death and bloodshed. Cooper's buddies are picked off instantly without even a "say goodbye to my wife". One of DeMille's most elaborate and evocative shot compositions is of a mass of brutally slain soldiers. And when Cooper discovers the Salters, it is surely the most poignant moment in any DeMille picture. Perhaps the pompous old conqueror had a heart after all.

Typical overblown DeMilleReviewed byBrianGVote: 4/10

Cecil B. DeMille was one of the pioneers of the American film industry, and you have to give him credit for that. He was also one of the first to pack his films with gratuitous sex and violence, and you have to give him credit for that. He got away with it by inserting preachy moral "messages" that proved the "evil" of everything he had just shoved in your face, and you have to give him credit for that. His films were enjoyable in a goofy sort of way, but that doesn't apply to this one.

There's one thing that DeMille could never be accused of, and that's cutting corners. His movies were expensive, and they looked it. They were usually also packed with well-known stars such as Gary Cooper and Charlton Heston. The one thing that few of his movies had, though, was a coherent script, and this movie is a prime example. Stars, production values, spectacle...whatever advantages this film has are sunk by the absolutely idiotic dialogue the actors are forced to spew out. You have to wonder what the actors were thinking as they were reciting this drivel. You also have to wonder what the writers were thinking as they were whipping this junk up; didn't they realize that people don't even _remotely_ talk or act like they do in this movie? Everything in this film is overblown, overheated and overdone. The only other one of DeMille's films I can think of offhand that goes even further over the edge is "Northwest Mounted Police," which is so jaw-droppingly awful it should be classified as a comedy.

As long as you realize what you're getting into, the movie is fun in a goofball, campy sort of way. If you're looking for anything else, forget it.

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