The last time I had watched Davy Crockett: King of the Wild Frontier was more than 30 years ago. I was a big fan after catching reruns of the series as a kid in the ‘80s. The original TV episodes starring Fess Parker were so popular that Disney packaged them as a film. The 93-minute feature connects three episodes into a single movie. My parents had dubbed it on VHS, and the adventure was an easy sell for me. We also had a very limited selection of movies at that time. I was curious to find out how well this 1955 compilation would hold up today. It might be a thrilling adventure for an eight-year-old, but I have grown a little bit since that time.
Although it was released in theaters as a film, the immensely popular character appeared originally on the Disneyland series. The Davy Crockett segments aired as part of its Frontierland portion, which connected to the Disneyland Park. The theme song has also never left my head, and I’ve only heard it a few times recently. That fact shows just how effective the “Ballad of Davy Crockett” was to the show. Thomas Blackburn wrote the lyrics (and the scripts), and the music came from George Bruns, who became a Disney veteran. It is still hard to imagine just how wildly popular Crockett and Parker were in the ‘50s, but it was a different era. Although the episodes appeared at home in black-and-white, they were shot in color (a forward-thinking choice by Disney) and presented that way on the big screen.
Representation Issues
Our introduction to Crockett is a light scene where soldiers interrupt him trying to “grin down” a bear. He ends up killing it off screen with a knife while his buddy George Russell (Buddy Ebsen) accompanies him. It’s a goofy way to introduce an iconic character, but it contrasts sharply with the serious Major Norton (William Bakewell).
There is little time wasted on exposition; an animated sequence briefly introduces the situation in the American Indian Wars. It’s an adjustment today to hear terms like “redskins” to describe their adversaries. The show presents a stereotypical look of Native Americans as just manic warriors that only care about killing. It’s an unfortunate representation, but it was fairly common in the 1950s. Crockett and Russell also stand apart from the soldiers and are presented as much different. The enemies fall for the “Crockett charge”, and death arrives with few consequences.
This shootout does reveal a main reason why the series worked for kids. The battles with the Native Americans feel like dreams of playing in their backyards. Crockett and Russell kill without batting an eye, and there is a strange glee to this segment. We do see casualties in the second fight, so it’s hardly dismissed. Even so, it’s a quick stop. The vibe is one of adventure, not sadness at having to commit violence for the cause.
A Brief Stop at Home
Another limitation is the brief time we spend with Crockett’s wife Polly (Helene Stanley). It humanizes Crockett to catch a glimpse of home, but everything feels shallow and diminishes Polly. The scene takes more time with a joke about kissing Russell than anything substantial. We are quickly back to pursuing Red Stick, and Crockett battles him with tomahawks to end the war. This segment has more in common with an episode of Hercules: The Legendary Journeys than actual history. In fact, there are quite a few eerie similarities between the two. Both prefer peace but will step up and fight; they are also a lot more talented than average foes.
What makes Crockett stand out is the likability of Parker, who exudes kindness even when fighting Red Stick. This genuine nature is everywhere in the segment where he runs for Congress. Crockett fights a giant named Bigfoot (Mike Mazurki) to protect his Cherokee neighbor, and there is no doubt he stands on the right side. His efforts single-handedly bring peace to a frontier settlement, though the excitement remains short-lived when news arrives of his wife’s death.
Parker’s quiet reaction to the loss works because it’s perfectly subtle. He simply walks into the woods and mourns within nature. It’s off-putting at first when Crockett dons proper clothes and moves into a fancy house. His individualist streak comes out when dealing with the corrupt jerks in Congress, however. Crockett arrives in his frontier garb with idealistic notions of helping the people, but that naiveté doesn’t last for long.
Cynical Politics
It’s surprising to note the cynical outlook on politics within this film, especially in the 1950s. Crockett gives a fiery speech to oppose the Indian Removal Act that indicts the entire system. This is a sanitized version of government with a strange political process, yet there is a pessimistic view that rings true today. This leads to the final section in Texas for Crockett’s last fight in the Alamo.
Walt Disney regretted killing off Crockett, though they did release two more prequel episodes with the character (combined in Davy Crockett and the River Pirates). Without any historical knowledge, Crockett’s death would be a surprise. He spends the entire film surviving tough situations, so it seems possible he will escape the Alamo. It’s the least interesting portion of the film, and colorful supporting characters like Thimblerig (Hans Conried) don’t add very much.
The fatalism does creep in during the scenes before the last fight. Crockett sings the quiet tune “Farewell”, and the doomed men basically say goodbye. It’s one of the film’s best scenes and sets the stage for the end. We don’t see Crockett die, and the final image depicts him swinging his rifle and battling the incoming hordes alone. It’s a positive moment of defiance, despite the dire result.
Parker creates a memorable character that’s still well-known 60 years later. There are extremely dated aspects, particularly the perspective on Native Americans and almost nonexistent female roles. I can see why I was so drawn to the character as a kid, though. It doesn’t work on the same level for me now, but it’s an easy ride.
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