NR | 2h 8m | Adventure, Drama, Romance | 1947
Films about star-crossed lovers have long been a staple of the romantic genre, often revolving around couples separated by forces beyond their control. When rigid class divides enter the equation, the challenges the couple faces become even more difficult; the chasm between the privileged and the working class can create an almost insurmountable barrier.
“Titanic” (1997) stands as a more modern example of the rich-girl-poor-man trope. Earlier classics like “Holiday” (1938) paved the way for such narratives. In “Tycoon” (1947), John Wayne takes on a rare non-Western romantic role. He portrays an ambitious American caught in a battle of wills with a powerful industrialist and in a forbidden romance with his daughter.
Wayne plays Johnny Munroe, an engineer working with a construction firm to build a railroad tunnel beneath a mountain in South America. He and his boss, Pop Mathews (James Gleason), have been hired by the powerful Frederick Alexander (Cedric Hardwicke), the titular wealthy tycoon, who wields considerable influence over the region.
Love, Labor, and Liberation
Amid the grueling labor and mounting tensions, Johnny’s life takes an unexpected turn. He meets a striking dark-haired woman on her way to church. Intrigued, he pursues her, eventually making a grand romantic gesture by arriving at her balcony with a troupe of mariachi singers.His friend Ricky (Anthony Quinn) quickly warns him, however, that the woman he is so taken with is none other than Alexander’s fiercely protected daughter, Maura (Laraine Day). Undeterred, Johnny courts Maura, and their romance blossoms, much to her father’s dismay.
As the relationship deepens, so do the conflicts. Alexander does everything in his power to discourage the pairing, but his resistance only fuels Johnny and Maura’s determination to be together.
A Mixed Bag
The script, crafted by Borden Chase and John Twist, suffers from an uneven pace. The film alternates between moments of strong dialogue, often delivered with Wayne’s signature panache, and clunky, predictable situations and storytelling.
The romance, intended to be the film’s emotional core, falls flat due to the lack of genuine chemistry between the film’s two leads, Wayne and Day. Day’s performance feels uninspired. In key moments opposite Wayne, she appears disengaged, as if merely reciting lines rather than fully inhabiting her role.
Director Richard Wallace fares better in crafting a grand sense of adventure, making the South American setting feel both immersive and visually striking. The rugged mining site, the palm tree-lined town, and its assortment of colorful locals add an engaging atmosphere.
However, Wallace dwells too long on the melodramatic romance, highlighting Wayne’s shortcomings in love scenes. Despite these flaws, the film offers glimpses of the tough, no-nonsense persona that would later define Wayne’s career.
The supporting cast also helps shore up the weaker elements. Hardwicke effectively embodies the cold, calculating industrialist, while Quinn brings energy and charisma. Gleason lends a firm yet affable presence as Johnny’s boss, and Judith Anderson adds a touch of refinement as Maura’s companion, Miss Braithwaite.
While “Tycoon” boasts grand spectacle and genuine moments of suspense, it ultimately suffers from a sluggish script, dubious central romance, and an overlong runtime.
Fans of John Wayne may appreciate the film as an interesting departure from his usual Western fare, but compared to his later work, it feels more like a misstep than a triumph.
