The rich visual spank in Fred Zinnemann‘s Oklahoma! — 70mm Todd-AO, 30-frames-per-second — is so luscious that I decided to watch some of it last night. The first 35 or 40 minutes, I mean. Watching the whole film is impossible — talk about square, complacent, cornball, plodding.

But those Arizona visuals! Location shooting was done mostly in Nogales, Arizona. The cornfield in the opening number as well as the reprise song “Surrey with the Fringe on Top” were shot at the historic Canoa Ranch in Green Valley, Arizona.

Oklahoma! itself is a glaze-over, for the most part. You sit and watch it, and it sure as hell goes on longer than you’d prefer. The tunes catch lightning every so often. I really enjoyed Rod Steiger and Gordon Macrae‘s “Poor Judd is Dead” duet.

If only there wasn’t this feeling of complacency, of an overly revered stage play being shot by cameras that weight ten tons, of the filmmakers coasting on the laurels of the original 1943 Broadway stage production, which (along with the earlier production of Jerome Kern‘s Showboat) changed the character and upped the game of American musicals.

If only the Curly-Laurey-Judd triangle made a lick of sense. If only the photography wasn’t so conservative and the cutting so uninquisitive. If only Laurey’s dream sequence didn’t use replacement dancers for Macrae and Shirley Jones (why were they even hired if they couldn’t handle a few modest ballet moves?). If only it didn’t seem as if director Fred Zinneman was on a Thorazine drip and wearing a straightjacket during filming. If only those jutting Arizona mountain peaks (i.e., total fiction compared to the typography of the real Oklahoma) weren’t visible in all the exteriors.

Incidentally: Did you know that Oklahoma!, despite its staunch mid-1950s squareness, is all about sexual longing and mating rituals and perversity, and is generally teeming with erections and dampness and pelvic thrusts?

Jason Cochran makes a surprisingly clear case for this analysis in a 2011 article called “Oklahoma! Is One Of The Dirtiest Movie Musicals Ever Made.”

“There’s a storehouse of sexual activity swarming in Oklahoma!,” he writes, “and enough to fill several ten-page papers. In overview, however, it suffices to note the several main themes in the film: the cloaking of continual sexual pursuit beneath local custom and chivalry, the dependency of each character on that custom, the matriarchal presence of the [lascivious] Aunt Eller and the…sexual linkage of beasts and dancing as they relate to Oklahoma!‘s setting and genre.

In those themes alone there is enough to give any Rodgers and Hammerstein fan pause as she or he considers Oklahoma!‘s innate sexuality and perversity.”

In Killers of the Flower Moon (which I’ll be seeing for the second time later today) the yokelish scumbag Ernest Burkhart (Leonardo DiCaprio) romances and then marries the oil-rich Mollie Burkhart (Lily Gladstone). There’s a strange implication that Ernest is actually sweet on Mollie, but that’s bullshit. He’s mainly after her money.

The problem is that there’s no believing that Leo is genuinely attracted to Lily. Because we can’t divest ourselves of a persistent social-media impression of Leo over the last 25 years or so, which is that he only goes out with foxy, super-slender supermodels who are 25 or younger. Lily is a nice-looking lady as far as it goes, but she’s not in Leo’s class. She’s moonfaced, in her mid 30s and a bit on the chubby side. You tell yourself “no, no….forget real-life Leo…he’s playing an actual Oklahoma guy who married Mollie back in the 1920s…you need to invest in his performance and forget his real-life escapades.” And you can’t. You just can’t.