This is a sprawl -- like Ferber's novels themselves -- and it remains unshaped, a chronicle rather than a constructed narrative. That said, the dusty scenes where the town of Osage rises effectively parallel the early efforts of Hollywood to construct a new medium. The awkwardness actually works as as kind of subtext once the family has moved from "civilized" Kansas to the territory. (Incidentally, no one has mentioned that the great 1943 musical, "Oklahoma," deals with the same history). Dix is a silent screen star -- over-acting, overly gestural, over-posturing -- caught in a new world of sound. That tension works less well, but the issue of Yancy's taking off for years at a time is simply not resolved. Where has he been when he returns after a five year absence? No one says, but, perhaps more strange, no one asks. Dunne's character grows up, shedding her prejudices, thus giving Oklahoma "permission" to join our Union, with its "liberty and justice for all." This one is worth watching for historical purposes, not so much for entertainment. Estelle Taylor, Jack Dempsey's wife, also a holdover from the silents, is good here, though seen too seldom and not given a potenitally intriguing link to Yancy. His interest is purely altruistic and that strains credulity.