Warpath (1951)

Coursing through one story after another, the concept of good, old-fashioned bloody revenge/vengeance seems quite at home in the western genre. Don't it? And sometimes, that's all you need for a good story. Take 1951's Warpath, a decent little western that could have been pretty good. If it had just stuck to its revenge-driven guns...

Riding into a dusty, wind-swept town in the west, a man named John Vickers (Edmond O'Brien) gets off a stagecoach and promptly runs into the man's he long been after. He prods him into drawing first and shoots him dead, but not before getting some information out of the dying man. Vickers is looking for two other men and has been doing so for the previous eight years, always on their trail, always one step too slow. Now, he's got to take it one step further. Those two men he's pursuing have joined the cavalry. What to do? Driven solely by revenge, Vickers joins up too, knowing the regiment the duo enlisted with. That outfit? The infamous Seventh Cavalry, commanded by General George Armstrong Custer. Vickers hopes he can finish his mission, but has he bitten off more than he can chew?

I'm always on the lookout for new westerns, especially harder-to-find B-westerns like this entry from director Byron Haskin. Nothing too fancy here, a pretty straightforward revenge story that's undone by some story choices. It brings together all sorts of genre conventions, throws them in a mixer and you get to watch the finished product, a western clocking in at about 100 minutes that has a somewhat disjointed feel. Not especially good, not especially bad, but worth a watch for genre fans.

Edmond O'Brien is criminally underrated. Westerns, film noirs, dramas, thrillers, this guy could and did do it all. His John Vickers manages to hold things together throughout all the bouncing balls. He's a Civil War veteran hellbent on revenge, looking to avenge the death of his fiance who was shot and paralyzed as an innocent bystander during a bank robbery. He watched her die slowly, wilt away, and intends to exact revenge no matter where it takes him. It's a good part for O'Brien, simmering with rage and intensity as he puts himself through all sorts of trials and tribulations to exact that revenge, often putting himself at great danger to do so. Or is that his plan and has been all along? Hmm, interesting. Something to think about, huh? :)

The cast has some familiar names and faces, helping smooth out the rough patches. Among the cavalry soldiers O'Brien's Vickers finds in the Seventh Cavalry, there's Forrest Tucker, Paul Fix, Wallace Ford, and the always welcome Harry Carey Jr. Also at the fort, Vickers meets the comely daughter (Polly Bergen) of the owner of the general store (Dean Jagger). Wouldn't you know it? She likes Vickers...but she also likes another soldier! Oh, no! Yeah, the story goes down that path. A story that already bounces around too much grinds to a halt in those oh so painful moments.  If you're a western fan, the solid supporting cast overall should pull you in. It did for me!

There's enough here to recommend. It's a solid B-western from the early 1950's, but it certainly has an edge to it. It's a kinda leisurely revenge-seeking trip -- how does it take 8 years to track 3 people down when you seemingly are always on their tail? -- and O'Brien's Vickers seems to take quite a risk enlisting in the army in the hopes of finding two men in an entire cavalry regiment. And as mentioned, the forced love interest never really takes off.

Still, 'Warpath' does take some risks that pay off. It's clearly made on the cheap, including an art insert of the fort walls as the cavalry troops ride in and out. Helping cancel things out are a combination of some western notables. A midway action scene has a twist on the Battle of Beecher's Island, one of the more fascinating, little-known battles in the wild west. Then, the finale is set against the backdrop of Custer's Last Stand, maybe the most iconic moment in American history in the wild west. So yeah, if the ending is a little abrupt -- oh, right, Custer and the whole regiment are dead! -- so be it. It's a fun little western.
Warpath (1951): ** 1/2 /****

The Great Locomotive Chase

Walt Disney was a man with ideas far ahead of his time. As television was becoming a force to be reckoned with in the 1950s, Disney's Disneyland TV series was ground-breaking and gave viewers something they'd never seen before. These were smart shows too, shows about culture, the world, nature, and maybe most memorably, history. Kids loved history (kinda still do I guess). In one of his lesser known efforts that doesn't have the reputation of his other ventures, a historical feature film, 1956's The Great Locomotive Chase.

It's 1862 and the Civil War is still in its early stages both in the east in Virginia and in the south too in Tennessee and Georgia. Among all the fighting, one man, James Andrews (Fess Parker), is making a reputation as a blockade runner, supplying the Confederate forces with much-needed supplies. In reality though, Andrews is a spy working for the Union. Now, he's been tasked with a dangerous mission. In hopes of helping a surprise Union advance, Andrews and a small detachment of men must travel deep into Georgia and try to destroy as much of a key railroad as they can so Confederate reinforcements can't reach the fighting in time. What's Andrews' plan though? Well, the odds are against him. Not too far north of Atlanta, he and his men will steal a locomotive and race up the line, destroying track, burning bridges, and ripping down telegraph wires, all the while hoping to stay ahead of pursuers. Can they do it? It's going to take some luck and some impeccable planning and timing.

This 1956 Disney historical drama is actually based on a true story from the Civil. With an obvious SPOILER warning, read about it HERE. This is a story that may seem familiar to movie fans with Buster Keaton telling the same story way back in 1926 with the classic silent film, The General (a gem if you haven't seen it). For whatever reason, it hasn't resonated with audiences since its release like so many other Disney movies of the 1950's and 1960's. The goal? At least partially replicate the success of the Davy Crockett episodes (starring Parker) that swept the country. I've seen this movie twice and like it a lot. If it isn't a classic, so be it. If it exciting stuff, especially when the locomotive chase comes along, and features a pretty cool cast of recognizable faces, if not huge star power.

Aired recently on Turner Classic Movies as part of a Disney-themed night, host Leonard Maltin made an interesting point, something I try and bring up occasionally in reviews. Way back in 1956, there was no such thing as computer-generated images. If you wanted something in your movie, you had to find some way through special and visual effects, matte paintings, tricks of the eyes to get the job done. So what's the coolest thing going here? That chase. THAT CHASE. Filmed in Georgia, 'Locomotive' used real locomotives and had them tearing up and down railroad tracks through the Georgia countryside. Shot in technicolor, director Francis D. Lyon turns in one beautiful-looking movie. The chase is incredibly exciting, edge of your seat stuff as Andrews and his Raiders run for their lives with....

Dogged pursuit unfortunately (for them). The mission actually starts off pretty successfully. What Andrews hadn't counted on was the freakishly stubborn train official, William Fuller (Jeffrey Hunter, just 30 years old), who chases them up the track with everything he has. At just 85 minutes, 'Locomotive' is a pretty quick movie, but it is at its absolute strongest in the 45-minute or so extended chase scene from beginning to end. It becomes a lightning-paced cat and mouse game as Andrews throws everything he can at Fuller while Fuller puts his head down and barrels through the obstacles. I try and avoid saying a movie is a thrill ride, but as far as chase scenes go, this is one of the best. There's too many anxious moments to count, the success or failure of the mission contingent on a second or two here, a minute or two there. The chase, the twists, the Georgia countryside, the matte paintings in the background, it's all can't miss stuff.

If you're a fan of tough guy movies from westerns to war movies to film noirs and with a good dose of Disney thrown in, you'll get a kick out of the cast here. For starters, Davy Crockett himself as Andrews is a welcome lead. A tad wooden at times, Parker is nonetheless a very likable hero, stout, resolute, loyal and willing to risk it all to accomplish his mission. Hunter isn't given much to do other than stubbornly chase after a train, but his presence is always welcome. Their few scenes together -- Parker and Hunter -- are excellent, especially one when Hunter's Fuller approaches Andrews because he believes something is up minutes before the locomotive heist. As for the rest of the cast, look for Kenneth Tobey, John Lupton, Jeff York, Harry Carey Jr., Don Megowan, Slim Pickens, Claude Jarman Jr., and Eddie Firestone. Remember, it's just 85 minutes long so little character development but a lot of familiar, welcome faces.

Not much to fault here. The post-chase fallout drags a bit only because it seems Disney and Co. didn't quite know how to wrap things up. Stick with the history (a rather dark history at that) or fudge the truth a little bit? Disney sticks with the real-life history for an ending that's pretty dark for a Disney movie. Thankfully, it goes down the Davy Crockett route and only hits at what's to happen, never showing it in what would have been graphic detail. And come on, Parker (Crockett), Tobey (Bowie) and Megowan (Travis) are back together again! With York (Mike Fink) too! How can you lose?!? An underrated winner.

The Great Locomotive Chase (1956): ***/****

Bandolero!

With 1960's The Alamo -- one of my two favorite movies -- producer-director-star John Wayne built an entire set in Bracketville, Texas, that included the famous Alamo mission and nearby San Antonio. It was a set that was used in many, many films in the years following, even becoming quite the tourist attraction, before closing in the last few years. One of the best and one of my favorites? A 1968 western called Bandolero!

It's 1867 in Val Verde, Texas -- a small border town not far from the Rio Grande -- where noted outlaw Dee Bishop (Dean Martin) and his gang is caught trying to rob a bank, killing two people in the process. Sentenced to hang, the entire gang is rescued on the gallows by Mace Bishop (James Stewart), who is posing as the hangman. Dee and his men escape, riding out of town hell bent for leather trying to reach Mexico ahead of a posse led by the stubborn Val Verde sheriff, July Johnson (George Kennedy). On the trail, the Bishop gang takes a hostage, Maria Stoner (Raquel Welch), a widow of one of the men killed in the robbery, and continue on to Mexico with the posse close behind. Embarrassed in his town, July Johnson has another reason to pursue the gang as far as they go. He's long been in love with Maria. All sides cross into Mexico into what Maria calls 'territorio bandolero.' Translation? Bandit country, bandits who will kill any and all gringos they come across.

This isn't a classic western, but for me, it's always been one that is a lot of fun. It's from director Andrew McLaglen, a director who specialized in pretty straightforward, almost always pretty entertaining guy's guys movies like this, The Wild Geese, McClintock, The Devil's Brigade and many others. He's one of my favorites just because of that, he made movies that were fun, that were entertaining. This is one of his better efforts, a western with a great cast, an interesting premise, and some tweaks and twists and turns in a story that tries to blaze its own trail. Again, not a classic, but damn entertaining and one of my little-known movies I consider a personal favorite.

It starts with two of my favorite actors, Jimmy Stewart and Dean Martin, in lead roles. The character premise is familiar but handled nicely. These are two brothers torn apart by the Civil War, Stewart's Mace fighting for the Union while Martin's Dee fought with the South, specifically Quantrill's Raiders. Now, years later they're brought back together by dumb luck, some coincidence and one brother desperately trying to help the others. These are two good actors, and they carry the dramatic moments. It's especially cool to see Martin in a villain role, albeit a likable villain. The middle portion of the movie is carried by their scenes as they reunite, talk things out, plan for the future, all the while trying to mend their differences. So yeah, they're on the wrong side of the law, but...meh, it's Jimmy Stewart and Dean Martin so you kinda go with it.

As for the Bishop gang, look for Will Geer as the crotchety old man, Pop Chaney, his ill-mannered, probably a little off son, Joe (Tom Heaton), Babe Jenkins (Clint Richie), a deadshot with a rifle and a bit of a ladies man, and Robbie O'Hare (Sean McClory), the hard-living, loving-life Scotsman. An interesting, nasty group to round out the gang.

The rest of the cast ranges from interesting to good to good-looking. Kennedy is underused but very solid as Sheriff Johnson, the peace officer trying to do his job but he's got some ulterior motives for his actions. I also have always liked Andrew Prine as Roscoe Bookbinder, Johnson's loyal deputy. Lonesome Dove author Larry McMurtry was apparently a big fan of this movie and used both character names and general descriptions in that novel. As for Raquel Welch, she's trying, really doing up a Mexican accent. It isn't nearly as bad as some reviews make it out to be -- the script doesn't do her any favors -- but it isn't especially good either. Shallow dude time though, she looks as beautiful as ever. Plenty more familiar faces though including Denver Pyle, Rudy Diaz (the bandit leader), Harry Carey Jr., Perry Lopez, and Dub Taylor.

Now for that Alamo Village portion of our programming. McLaglen uses the Alamo set to good use with two extended set pieces, the opening being Val Verde, the robbery and then the eventual escape. The finale is actually on the Alamo mission set, an abandoned town set among the ruins of the bombed out fort. They try to disguise the recognizable chapel face, but you can't miss it if you're paying attention. It's a great use of the locations, Utah and Arizona also serving as some locations. Also, one more thing. I love composer Jerry Goldsmith, but this is one of his favorites, a score I absolutely love. The use of a mouth harp over the opening credits is an odd choice, but does it ever work. The rest of the score is more action-packed western themes, but it's catchy, memorable and a great support to all the action. Give it a listen HERE.

If there's an issue in this McLaglen western, it's that the script has a great opening set piece and a memorable, blood and guts finale. In the middle....yeah, things drag at times. There's a couple campfire scenes, Maria getting to know Dee, Dee reacquainting himself with Mace, and all the while Johnson's posse tangles with a large gang of bandits. Never boring, but never as exciting as the beginning and end. Now that ending/finale? Yikes, it packs a wallop, packs quite a punch and does so while delivering some genuine surprises. Quite an ending to one of my favorites. A perfectly entertaining little western. Nothing more, nothing less.

Bandolero! (1968): ***/****

Rewrite of February 2010 review

Shenandoah

As far as directing powerhouses of the 1960s, Andrew V. McLaglen will never be remembered as one of the greats. He started off in television before making the jump to feature film, teaming several times with John Wayne while also specializing in audience friendly "guy movies." Good guys versus bad guys, lots of familiar faces and situations, you know the formula. One of his best? An underrated Civil War drama, 1965's Shenandoah.

It's 1864 in Virginia, and the tide of the Civil War has turned as the Union forces are slowly beating down the Confederate armies. Doing his best to remain free of the bloody fighting, farmer and patriarch Charlie Anderson (James Stewart) wants nothing to do with the war. Both for himself and his family -- seven kids, one daughter-in-law -- Anderson simply wants to keep working his 500-acre farm and get through the war unscathed. Fight for Virginia? Fight for slaves he doesn't have? He fights for what he believes in, his family and his farm. Well, that's what he'd like to do. While the fighting rages on, Charlie is stunned when he finds out his youngest son (Phillip Alford) has been confused as a Confederate soldier and captured by nearby Union forces. Now the war and the fighting that Anderson has done so well to steer clear of has landed square on his front porch. Can he find his son amidst the hell of war?

This was a movie I watched often growing up when my sister and I had sleepovers with my Grandma. It made an excellent Civil War double feature with Friendly Persuasion, and let me tell ya, they both hold up! I watched this McLaglen-directed Civil War drama for the first time in years, and it resonated just as much now as an adult as it did when I was a kid, if not more. McLaglen had some excellent movies to his name -- The Wild Geese is a favorite, Hondo, McLintock are also excellent -- but this is his best movie overall. The story is a series of very effective, often moving and often disturbing vignettes, all held together by the Anderson family. Filmed on-location in Oregon and California, 'Shenandoah' is an underrated visual film, and the musical score from composer Frank Skinner is a gem. So what stands out viewing this one as a 29-year old, not a 13-year old kid?

That would be James Stewart, one of my favorites in just about any movie he's in. This doesn't get the attention or notoriety as one of Stewart's best performances, but it certainly belongs in the conversation. I love what he does with the part of Charlie Anderson, a stubborn, feisty Virginia farmer and widower looking out for the best intentions of his family. He doesn't care about the war, about slavery, about Union and Confederate. He will do anything, ANYTHING, to protect his family. Stewart has some great scenes with the younger supporting cast, especially Alford's youngest son, only called 'Boy,' with his daughter, Jenny (Rosemary Forsyth), daughter-in-law, Anne (Katharine Ross), and his sons. There are too many memorable, emotional scenes to mention, but my favorites are the most simple. Minutes before the Andersons go to church each Sunday, Charlie visits his wife's grave and just talks to her. Simple perfection, Stewart absolutely nailing the underplayed but charged scenes. 

Stewart is the unquestioned star of McLaglen's film, but 'Shenandoah' offers quite the ensemble of recognizable faces. Glenn Corbett and Patrick Wayne play Jacob and James, the two oldest brothers. Corbett especially stands out as Jacob who's beginning to question if their choice to stay out of the war is the right decision. Wayne is solid too, especially in his scenes with Ross. In her film debut, Forsyth is excellent, a subtle scene-stealer as innocent, tough and thoughtful Jenny who's also interested in a young Confederate soldier, Sam (Doug McClure). The other Anderson boys include Charles Robinson, Jim McMullan and Tim McIntire. Maybe the best thing you can say about the story is that the family dynamic, it just works. You believe them as one cohesive unit, one that stands together through thick and thin.

But wait, there's more! Also look for George Kennedy as a sympathetic Union officer, Gene Jackson as Gabriel, a friend of Boy's, a slave, Paul Fix as the local doctor, Denver Pyle as the pastor, James Best as Carter, a fellow prisoner who takes Boy under his wing, Harry Carey Jr. as another Confederate prisoner, Tom Simcox as Lt. Johnson, a Confederate officer, with Kevin Hagen, Dabbs Greer and Strother Martin also playing small but memorable parts.

So 29-year old me certainly picked up some new things, or at least was able to process things differently. This is one hell of an anti-war flick. The portrayal of the latter stages of the Civil War is unsettling and often times, disturbing. Death awaits around every corner, hiding behind every tree. The lines are up in the air as the war takes a turn toward its ultimate conclusion. A late battle between a small Confederate camp and a larger Union force with heavy artillery is quick and awful and uncomfortable, one of the more underrated battle sequences I can think of. The last half hour especially features one kick in the gut after another that truly hammers home the anti-war message. And that last scene? Pretty perfect, the possibility of hope lingering in the air amongst all this pain and suffering and death. One of my favorite movies.

Shenandoah (1965): ****/****

Gun the Man Down

At the height of his popularity in the 1950s, John Wayne turned down an offer that ended up profiting for one person in particular. Wayne turned down the lead role for TV's Gunsmoke and instead recommended James Arness for the part. Wayne kept on being Wayne, and Gunsmoke...well, it aired for 20 seasons with over 600 episodes. Wayne and Arness became friends, Arness even starring in a flick from Wayne's production company (Batjac), a 1956 western, Gun the Man Down.

Following a botched bank robbery, Rem Anderson (Arness) is left behind by his fellow robbers, Rankin (Robert J. Wilkie) and Farley (Don Megowan), when he's wounded and can't keep up with a posse close behind. Anderson is able to hide, but it's only a matter of time before the posse picks up his trail and he's sentenced to a year in prison. Upon getting his parole, Rem has one goal in mind; revenge. He's not sure what became of Rankin and Farley, but he intends to find out. His trail leads him across the territory where finally he tracks them down in a town where they used the money from the bank robbery to open up a successful, raucous saloon. They're out in the open, but that presents a problem in itself. No one knows them as bank robbers, only saloon owners. How can Rem hope to exact his revenge with the chips stacked against him?

Starting in the early 1950s, Batjac Productions backed movies well into the 1970s, many of them starring the Duke, several others made with other stars. For the most part, they were fan friendly flicks, movies audiences would scoop up and enjoy. Not too surprisingly, the ones with Wayne were more successful than those without him, but of the ones I've seen, they've all been solid to good to really good. This 1956 western is a no frills western from director Andrew McLaglen and screenwriters Burt Kennedy and Sam Freedle. McLaglen and Kennedy were frequent collaborators with Wayne in the 50s, 60s and 70s, and you could see a younger Duke playing the Arness part. 'Gun' clocks in at just 76 minutes and features a small scale story with a small cast. It's good, but could have been better.

The odd part? There are times you feel like you're watching a small-scale film noir western. Revenge stories are nothing new to the western genre, but this one is simple and straightforward. We've got our anti-hero (Arness) trying to right a wrong, get his revenge, and get his woman (Angie Dickinson) back in the process (the femme fatale). The villains are dastardly, the cops are waiting for their chance, and we've got a fringe character or two waiting to swoop in for a profit. How can you go wrong? I wish all these pieces fit together in tighter fashion though. It is only 76 minutes long, but it drags at times with some serious pacing issues. Lots of talking, lots of dialogue, making an already short movie feel inexplicably long at times. That's never good when you're struggling to get through a movie that isn't even an hour and a half long.

Without the star power of a John Wayne, 'Gun' still has some cool parts. Arness is a solid, resolute hero who in the second half is more of a presence than an actual hero. We see other characters react to him, see others cower and worry what he's up to. Also, he was robbing a bank to provide for a new life with Dickinson's Janice so he's not all-bad, right? Right?!? Wilkie and Megowan are solid as our villains, ready to cut bait at the first sign of trouble. My favorite parts were for Emile Meyer (usually playing a heavy) as Sheriff Morton and Harry Carey Jr. as his well-meaning but little slow deputy, Lee. Morton knows the dangers of the job, has been at it forever, and is trying to look out for Lee as best as possible. Their dialogue scenes are especially worthwhile, especially Meyer as Morton. Also worth mentioning are Michael Emmet as Billy Deal, a hired killer and friend of Rem's, and Pedro Gonzalez Gonzalez as a hotel employee (he'd work with Dickinson in a similar role 3 years later in Rio Bravo). A solid cast, nothing too flashy.

I just wish I liked this one more as I'm wavering back and forth between ratings. I liked it, but man, it was slow-going at times. There's also some funny, odd moments, including Rem being told a judge will throw the book at him for the robbery...and he gets a year sentence for bank robbery where a man in town was shot during said robbery. Maybe I misread it, but there's a hilarious scene where Wilkie races to catch his horse, mounts up, rides about 4 feet and then dismounts. I'm assuming it's meant to show the horse came up lame, but it had me laughing. Now with all that considered, it's still a pretty decent little western. There are some surprising, dark twists in the last act, and things are wrapped up nicely for everyone (well, almost everyone). Western fans should at least check it out with just enough positive going for it.

Gun the Man Down (1956): ** 1/2 /****

Take a Hard Ride

Time for a little genre crossover today, one I love, one I'm fascinated by if I don't really like. The love genre? The spaghetti western. The disappointing fascination? Blaxploitation. Both genres were fan friendly flicks that weren't going to rewrite film, but dammit, they were going to be entertaining in a low budget fashion. Today's combo flick? That's 1975's Take a Hard Ride.

Having helped deliver a herd of cattle to market, a cowboy named Pike (Jim Brown) finds himself in a sticky spot. The rancher in charge of the herd dies soon after selling his cattle, begging Pike to return the money to his wife back at their ranch in northern Mexico. It's a hefty sum -- some $86,000 -- but Pike is a man of his word and intends to deliver the money. He begins to ride south toward Mexico, picking up some help in the form of shifty gambler, Tyree (Fred Williamson), and a mute tracker raised by Indians, Kashtok (Jim Kelly). The news of Pike's mission has spread like wildfire though, and anyone who can heft a gun is on their trail, all of them hoping to get their hands on that lucrative pile of money. One seems more dangerous than the others, a renegade bounty hunter named Kiefer (Lee Van Cleef), and he's not going to make this easy for Pike. Can the cowboy keep his word and get to Mexico safely?

What an interesting premise. This 1975 western had American and Italian backing so it's not a straight spaghetti western, but the down and dirty feel is still there. Director Antonio Margheriti shot his movie in the Canary Islands, giving 'Ride' a very distinct, unique look. No familiar locations here from countless other spaghetti westerns! The score leans more toward the American side and feels out of place at times. As a whole, the idea is pretty cool. You don't see a lot of African American actors starring in a western, much less three of them with some solid star power and name recognition. Throw three black actors into a spaghetti western formula and let things fall where they may. Now all that said....the idea is pretty good. What about the execution?

It falls short, but I'm gonna cover some positives first. The biggest positive is pretty easy to spot, and that's the cast, especially the leads. In Brown, Williamson and martial artist turned star Kelly, 'Ride' offers three of the biggest stars of the blaxploitation, three stars who had worked together a year before in 1974's Three the Hard Way. The cowboy, the gambler and the tracker are three archetypal characters in the western genre, and the trio has some fun with the roles. Brown is solid and not flashy, the quiet cowboy who believes in doing the right thing, even if that decision could prove deadly. Williamson gets the showiest part as Tyree, the gambler, a well-dressed, back-stabbing dandy who has no qualms about killing to get his hands on some money. In the coolest part, Kelly is mostly presence, his mute tracker killing quickly, efficiently and in brutal fashion at times.

Some cool characters for sure, and they look to be having a lot of fun throughout. I especially liked the dynamic between Brown's Pike and Williamson's Tyree, the duo reminding me some of Gary Cooper and Burt Lancaster in the very important 1954 western, Vera Cruz. These are two polar opposites, and that idea plays well. Pike wants to return the money no matter what, agreeing to let Tyree to tag along because an extra gun on the trail is never a bad thing. Oh, by the way, Tyree tells Pike he intends to kill him once they reach the end of the trail. Fun, huh? They have an excellent chemistry as two guys who aren't hiding anything. They're just waiting for their showdown somewhere down the trail. Also, that Lee Van Cleef guy is around too. He's awesome as always if underused. His presence is intimidating whether he's on-screen or not, a menacing gunman ready to dispatch whoever stands in his way.

Now, about that whole execution thing. I loved the premise of the movie, combining two hugely popular genres. The execution is a different story. It struggles to find a tone, juggling squib-heavy violence with buddy humor, and the blaxploitation's love of everything....well, how do I say this? Hatred of white people? The supporting characters are pretty cut and dry whether it's evil or stupid or both. Catherine Spaak plays Catherine, a widow on the trail with our heroes, prompting Tyree to say "Two black men, an Indian and a white woman." Laughs ensue! Barry Sullivan plays a law officer who puts away his badge to go after the money while Harry Carey Jr. and Robert Donner play two ignorant, bumbling cowboys doing the same. There's also some Johnny Rebs wanting to continue the Civil War, a greedy Mexican bandit, a cute Mexican boy, and two black guys on the trail who bitch and moan like a married couple. Talk about broad strokes.

With a 103-minute running time, things drifted too much for my liking. We get riding/talking scenes, brief shootout, campfire scene and then repeat. As well, the ending seems like one big old cop-out on numerous levels. Things build and build to a showdown, a proper shootout...and we don't get it. Now it may seem like I'm being overly critical, but I did enjoy this movie, just not as much as I would have liked. Still worth watching though, especially for western and blaxploitation fans alike. Even Dana Andrews makes a quick appearance early on!

Take a Hard Ride (1975): ** 1/2 /****

The Undefeated

Considering the extreme and far-reaching effects the Civil War had on American history, it's odd there haven't been more movies about the most costly war in the United States' relatively young history. The western genre has done its fair share of quasi-Civil War movies, the war becoming a jumping off point for a shoot 'em up story. What to do once the war is over? Like Major Dundee and Vera Cruz, many went south into Mexico. We can add 1969's The Undefeated to that short list.

After four years of bloody fighting, the Civil War has come to a close, leaving both the North and South to figure out where to go forward. With some of his remaining soldiers, a former Union cavalry officer, Colonel John Henry Thomas (John Wayne), rounds up a herd of 3,000 wild horses with the intention of driving them south into Mexico where they'll sell them to Emperor Maximilian's forces. A former Confederate officer, Colonel James Langdon (Rock Hudson), who had outfitted his own regiment, is leaving his plantation behind, moving south to Mexico with his surviving men, along with their wives, children and family in hoping to start a new life. In turbulent times for both the U.S. and Mexico, these two groups' paths may cross, and with wounds from the war still fresh on both sides.

This portion of history has always fascinated me, especially in movies like this, Major Dundee and Vera Cruz. I grew up watching this John Wayne western, and in spite of its flaws, I've always been a fan. From frequent Wayne collaborator and director Andrew V. McLaglen, 'Undefeated' is a fun western with a very good, deep cast, authentic locations in and around Durango, Mexico (Dundee fans will appreciate some familiar spots), a memorable score from composer Hugo Montenegro (listen HERE, disregard the odd video choice), and in general an entertaining quality that lifts it up past the flaws. It plays like a lot of Wayne's later movies; easy to sit back and watch, some action and shootouts, some drama, some romance, and some laughs here and there. When westerns were changing so dramatically in the late 1960s and heading into the 1970s, it can be fun just to watch an old-fashioned western with good guys and bad guys. No more, no less.

In a pretty cool casting choice, Wayne goes toe to toe here with Rock Hudson. It's not the most obvious pairing, but it works, simple as that. Wayne is playing a variation on his archetypal cowboy part, the leader of a small, surviving group of volunteers that rode with him throughout the Civil War. Now, he's looking for some cash to start over with, hence the immense horse drive. Hudson's Langdon too is looking for a clean start, the horrors and severe losses of the war still fresh on his mind. They're two different men, but they also have many similarities. They're fighting men who stand by what's right, loyal to those who ride with them, and ultimately try to do what they should do, not what's easiest. Their scenes together are the high points of the story, an easygoing charm with just a little Union vs. Confederacy animosity lingering. Two parts I liked a lot.

Working with a big story and a whole lot of characters, there's a lot going on in 'Undefeated,' clocking in at 119 minutes. Both halves -- Union and Confederacy -- are interesting, but I liked Wayne's half more. His trail-worn, loyal riders include Ben Johnson as Short Grub, his right hand man, Harry Carey Jr., John Agar (his part was heavily cut, including his early death scene), Don Collier (a familiar face, often a stunt man in Wayne movies), Jerry Gatlin and Dub Taylor as McCartney, the cantankerous cook who's always looking to fight, a mangy cat, High Bred, at his side. NFL quarterback Roman Gabriel joins the cast too as Blue Boy, Thomas' adopted Cherokee son. With so many western regulars, there's an ease to these scenes that are just fun to watch. Also look briefly for small parts for Paul Fix, Royal Dano and Pedro Armendariz Jr.

With the kinda-sorta episodic story that amiably drifts along, half of the focus is on those Confederates. It's never boring, but it's also not as interesting as their Union counterparts. We meet Langdon's wife (Lee Meriwether), his buxom teenage daughter, Charlotte (Melissa Newman), and his widowed sister-in-law (Marian McCargo). His men include Bruce Cabot, NFL star Merlin Olsen, Jan-Michael Vincent, Robert Donner, Edward Faulkner and whiny Big John Hamilton. We get to see young, pretty Charlotte hold off Jan-Michael Vincent's Bubba Wilkes' advances (she like Blue Boy). We get to see worrying wife Lee Meriwether....well, look worried. Olsen's Little George hangs out with the kids, then fights the Union cavalry. There's plenty of familiar faces, some good parts, but it's simply not as interesting to watch. Not bad, just not as good as it could have been.

Certain portions of the episodic story drag, but some certainly stand out. The pre-credits sequence wraps up the Civil War in a quick Union attack on a Confederate position. Later, Wayne and Hudson must team up to hold off a bandit attack on the Confederate wagon train, a good, exciting sequence. My favorite though is a late battle between the Union riders and French cavalry, the horse herd used as a weapon and negotiating ploy with a Mexican officer (Tony Aguilar). I'm wavering here. It's not a great western -- maybe not even a good one -- but I'm always entertained watching it. John Wayne fans, western fans alike should like this one.

The Undefeated (1969): ***/****

The Devil's Brigade

In tribute to all our veterans, here's a Memorial Day review. As a movie fan, Memorial Day was a huge weekend for me growing up. I looked forward to watching old war movies on TNT in round-the-clock marathons, WWII flicks that are some of my favorites like The Dirty Dozen, Kelly's Heroes and an underrated classic and one of my all-time favorites, 1968's The Devil's Brigade.

It's 1942 and with World War II very much yet to be decided, Lt. Colonel Robert Frederick (William Holden) has been summoned to a staff meeting in England. Even though he has no combat experience, Frederick is being given command of a new unit, the First Special Service Force. Their ultimate mission is still to be decided but the Colonel prepares for the training that awaits his brigade that consists of a crack unit of well-trained Canadian troops commanded by Dunkirk veteran Maj. Alan Crown (Cliff Robertson) and an unruly, misfit group of American troops headed by the similarly unruly Maj. Cliff Bricker (Vince Edwards). The two sides bristle immediately, but training continues. If Frederick can manage to keep his men together, their services are very much needed, including a dangerous mission on the Italian front.

From veteran director Andrew McLaglen, 'Brigade' is based on a real-life military unit, the First Special Service Force. Released just a year after The Dirty Dozen, it bears some striking similarities, but it more than capably carves out its own niche in war movie department. It is one of the great men-on-a-mission movies, and that's saying something considering the late 1960s were rampant with them. McLaglen filmed on location in Italy for much of the second half of the movie, giving an authentic look and feel to the proceedings as the Brigade goes into battle. Composer Alex North turns in a gem of a soundtrack, his theme for the Brigade (listen HERE) one that you'll be whistling for days. The main theme is a highlight, but North specializes in the quieter, darker and more sinister moments leading up to the battle in the finale.

More of a workmanlike director than an auteur, McLaglen specialized in movies like this with impressive casts of male stars. This 1968 WWII flick is loaded with star power. As Colonel Frederick, Holden doesn't get a flashy part, but he leads the way just the same. His officer wants to prove himself while also proving how capable his men are too. The best part in the film goes to Robertson as Maj. Crown, an intelligent, well-spoken and brutally capable officer who survived the Dunkirk disaster. It is a smart, underplayed role, and he steals every scene he's in. As his American counterpart, Edwards too is very solid. His Maj. Bricker is blunt and without a filter, a scrounger and hustler with the best of them. Also look for Dana Andrews, Michael Rennie and Carroll O'Connor as American generals, all making cameo appearances.

Ah, yes, and then there's the rest of the cast. If the star power above wasn't enough, McLaglen assembles a deep, talented cast of tough guys to fill out the ranks of the brigade. Leading the American contingent, look for Claude Akins, Andrew Prine, Richard Jaeckel, Luke Askew, Tom Troupe, Bill Fletcher and Tom Stern. For the Canadian half of the Brigade, watch out for Jack Watson, Harry Carey Jr., Jeremy Slate, Richard Dawson and Jean-Paul Vignon. It's cool just seeing all these recognizable faces here together, some leaving more of an impression than others. Jaeckel as Omar Greco, an acrobat trying to escape but finding a home instead, especially stands out as does Akins as Rocky, the American bully, Prine as Ransom, a smart misfit, Watson as Peacock, the tough but gentlemanly Canadian and Slate as O'Neill, the hand-to-hand combat instructor.

I think it's the cast that separates the movie from so many other solid WWII movies. It's a familiar formula here; introduce everyone, train them, have them put their differences aside following some male bonding and then unleash them on the enemy. The male bonding comes courtesy of a barroom brawl (watch HERE) with some rowdy lumberjacks, a great scene. The script is ideal in its ability to let these tough guys be tough guys. It's fun, natural with chemistry and features some great one-liners. Other highlights include Slate's introduction in a showdown with Akins (watch HERE), a 30-mile hike where the rivalry develops further, and many others. Moral of the story is this, we need these parts to be effective for the second half of the movie to truly work. And you bet it does.

The last hour follows the Brigade as it enters combat. Required to prove themselves and their ability, Frederick leads a patrol behind the lines to a heavily guarded Italian town crawling with Germans. It's a lighter action scene, but memorable just the same. The best part though is in the finale, the Brigade ordered to attack the apparently impenetrable Mount la Difensa (where the Service Force really made a name for themselves), a mountain garrisoned by German infantry and heavy armor. First, they must scale a sheer cliff-face to mount a surprise attack on the garrison. It is a great action sequence, McLaglen filming in the trenches and dugouts as the Brigade begins their assault. We always know where the battle is, where it's going, and the sheer scale of it. When the casualties do come (and they do, quickly and with some surprises), it makes this extended battle sequence that much more effective emotionally.

This has always been one of my favorites, and I seem to pick something new up with each passing viewing (I'm guessing I'm somewhere between 20 and 30). This time? The darkness late, Frederick greeting his men as they prepare for battle. North's score goes dark, Dawson explaining "Haven't you ever heard a man say goodbye?" It's an eerie, uncomfortable moment. Spot-on too, considering the Brigade sustained 77% casualties in the coming battle. 'Brigade' doesn't have the reputation of so many other WWII movies of the time, but it deserves some attention. A hidden gem.

The Devil's Brigade (1968): ****/****
* Rewrite of June 2010 review

Escort West

Think 'wild west,' and a lot of people will think of the 30-plus years after the Civil War right on through the end of the 19th Century. But there is a crossover as the two historical eras overlapped. Yes, the Civil War western like Major Dundee, Escape from Fort Bravo, Two Flags West, and now, a new entry, 1958's Escort West.

It's been just a few months since the end of the Civil War, and ex-Confederate soldier Ben Lassiter (Victor Mature) is riding west with his 10-year old daughter, Abby (Reba Walters). They're heading to Oregon -- via Nevada? -- but now they've caught up with a Union patrol guarding a payroll shipment. Ben and Abby head their separate ways, but down the trail they ride across the massacred remains of the patrol with two female survivors, sisters Beth (Elaine Stewart) and Martha (Faith Domergue) Drury. A Modoc war party is on the warpath killing everything in its path. The Drury sisters tell Ben they were supposed to meet up with another Union patrol somewhere ahead of them, but they're not sure exactly where. While trying to avoid the Modoc warriors, can Ben and Co. manage to find the patrol and safety?

This western from director Francis D. Lyon is interesting for its writing staff; actor/writer Leo Gordon and Fred Hartsook (cool name). Gordon made a career out of playing tough guy roles in films like Tobruk (also wrote), Hondo and many others, including this one. He also wrote more than a few films and TV episodes and did it well. Gordon had a knack for writing meat and potato stories that audiences ate up. They're pretty straight forward, but they feature plenty of action and tough guys beating the hell out of each other. This one is pretty straightforward too, even a little short at 75 minutes, but western fans should enjoy it.

The Civil War western angle plays well here. A few months since the end of the war, Mature's Ben is looking for a fresh start. He's put the war behind him and wants to move on with his daughter. Meeting up with Union cavalry troopers though that aren't so forgiving, the hatred and rivalry from the war still very much alive. It's made worse when Ben meets the Drury sisters. Beth likes the Confederate and his daughter, but Martha isn't so forgiving, holding a hard-edged hatred for the Confederacy having lost her husband in the war (but there's more going on there too). The Union vs. Confederacy angle works well, giving a familiar western a fresh perspective. Then, the two former enemies must band together to survive Indian attacks. Good stuff all around.

The casting is good from top to bottom here, starting with Mature. He's a very capable soldier, but we also see a softer side of him as he looks out for his daughter. Stewart is solid and Domergue is appropriately shrill and hateful as the Drury sisters. Rex Ingram is a scene-stealer as Nelson, a black Union quartermaster wounded in the attack who bonds with Ben. The Union troopers include William Ching and Noah Beery Jr. as the officers in charge with Slim Pickens, Harry Carey Jr., Ken Curtis and Gordon. With a movie that's just 75 minutes, none of these familiar western faces are given much to do, but it's cool to see so many in one film. Would the movie be better with some more development in story and characters? Sure, what movie wouldn't? What's here is solid though.

Filmed in black and white, 'Escort' has the California hills/mountains posing as the Nevada mountains. It's got an interesting visual look to the story, the black and white adding a nice touch. The cavalry vs. Modoc story develops nicely with a claustrophobic touch as the canyons full of rocks and plants seem to be closing in on the troopers. Indians are hiding all around, just waiting to attack. An actor named X Brands play Tago, the Modoc leader. The biggest flaw may be that at 75 minutes, it feels rushed. The ending comes together too quickly, wrapping up in a flash because....well, because it does. It's a solid, entertaining B-western that could have been significantly better, but it's not bad for what it is.

Escort West (1958): ** 1/2 /**** 

Man of the East

By 1972, director Enzo Barboni and star Terence Hill had already teamed up for movies over back to back years that audiences ate up, 1970's My Name is Trinity and 1971's Trinity is STILL My Name. His follow-up is an unofficial sequel to those two flicks, and it's a good one. Thanks to MGM's HD TV channel, I was able to find and watch a pristine version of 1972's Man of the East.

On his father's dying wish, Thomas Moore (Hill), an Englishman from Boston, travels west to visit land owned by his father. Thomas is a gentleman who rides bicycles rather than a horse, recites poetry, and plays the violin. In other words, he isn't exactly cut out for the wilds of the wild west. En route, his stagecoach is robbed by three bandits, but he manages to hide his money and make it to his father's cabin unscathed. Who's waiting? The bandits, Bull (Gregory Walcott), Monkey (Dominic Barto), and Holdy Joe (Harry Carey Jr.), are there too, but he doesn't realize who they are. There's a catch. The trio used to be in Tom's father's gang, and in his dying wish, asks the trio to look after his son and teach him how to be a man who can survive in the west. They've got their work cut out for them, especially when Tom shows interest in Candida (Yanti Somer), the daughter of the local powerful rancher.

Stars like Clint Eastwood, Franco Nero and Lee Van Cleef helped make spaghetti western heroes into a tough guy category of their own. Then there's Terence Hill (real name Mario Girotti), a spaghetti western star who typically starred in somewhat lighter toned films. The Trinity movies aren't full-on spoofs, but they're not as dark as most other genre entries. Hill is perfect as a believable hero who's very capable but a little goofy too. It isn't always that ultra-sinister, anti-hero gunslinger. Hill was an incredible physical presence, handling most of his own stunts -- riding, fighting -- but also selling the humor without overdoing it. An out of place easterner, his morning stretching routine is sublimely perfect, the three bandits looking on in amazed confusion. Watch it HERE. As an actor, Hill has an easygoing charm that makes him incredibly likable whenever he's on-screen. It seems like a little thing, but it goes a long way.

I recorded this spaghetti western not knowing exactly what to expect, but it's difficult to find so I had to jump at the chance. I wasn't expecting Three Men and an Easterner (that's a Three Men and a Baby reference for those who are confused). It's even got some touches of 3 Godfathers, starring John Wayne, Pedro Armendariz and Carey Jr (also starring here). What's more surprising? How effective the story is. Walcott's Bull is the bullish, freakishly strong one, Barto's Monkey the fast-talking, goofy fast draw, and Carey Jr.'s Holy Joe the bible-thumping preacher who condemns drinking, smoking, gambling and visiting hookers...while doing all of those things. Extremely close with Tom's father dating back to their Army days, the trio takes a genuine interest in his son, doing their best to make sure he doesn't get himself shot up. I loved the dynamic among the group, the three rough and ready bandits hovering around like guardian angels. Funny, surprising in its effectiveness in the drama department, it came as a pleasant surprise.

Playing the love interest searching for her own one and only true love, Somer is solid as Candida, the young women who falls for Thomas as he recites poetry to her on a train trip. Her father, Frank Olsen (Enzo Fiermonte), worries for his daughter's well-being and wants her to have nothing to do with the somewhat doofy Thomas. Riccardo Pizzuti plays Morton, Olsen's right hand man and chief henchman who is Thomas' main rival when it comes to young Candida.

It's been years since I've watched the Trinity movies, but I typically avoid comedic spaghetti westerns whenever possible. This one from director Barboni goes a long way to helping turn my opinion. It's funny, very funny. The laughs aren't always the obvious, stupid, spoof-life ones, but genuine ones that come from good dialogue and acting (Crazy, isn't it?). There's some sight gags, especially Bull cradling a little furball of a dog wherever he goes, or the bandit trio demanding a crowd of on-lookers freeze in place, the crowd obliging mid-stride. There's the previously mentioned morning stretch routine, but my favorite was probably Thomas' insistence on riding a bicycle instead of a horse. The visual of him pedaling into town with the mounted trio behind him is priceless. One other running bit really delivers nicely too. A bounty hunter duo (Salvatore Borghese and Bernard Farber) keeps getting closer to capturing Bull, but the immense bandit keeps tripping them up. The immaculately dressed bounty hunters are almost identical in appearance, duded up with long black jackets and vests. They even move alike, producing some truly funny moments.

I didn't love everything here in this comedic spaghetti western. I didn't love the budding romance between Thomas and Candida, their relationship slowing things down. At 125 minutes, 'East' is also a tad bit long in the tooth, meandering along the way at different times. Mostly though, I liked it a lot. It was filmed on location in Plitvice Lakes National Park in Yugoslavia, a refreshing -- and beautiful -- change of pace from the typical sun-scored deserts. I liked the musical score from the De Angelis brothers too, a mix of lighter and more serious tunes. There isn't much in the way of gunplay, but a big, brawling barroom fight packs a serious punch (did you catch my pun there?). A very pleasant surprise, I liked this one a lot.

Man of the East (1972): *** 1/2 /****    

Big Jake

From his starring screen debut in 1930's The Big Trail to his final film in 1976's The Shootist, John Wayne became one of Hollywood's most beloved stars. For me, he will always be one of my favorites. Some look to The Searchers, She Wore a Yellow Ribbon and The Shootist as his best roles (and they are), but one of my favorites from the Duke is a change of pace western from 1971, Big Jake. 

It's 1909 along the Texas/Mexico border when an outlaw, John Fain (Richard Boone), leads his gang of murderers and cutthroats in a vicious attack on the expansive McCandles Ranch. Ten people are killed, and ranch owner Martha (Maureen O'Hara) sees her grandson kidnapped. Fain demands a ransom of $1 million, leaving a note that says simply "Follow the map." Knowing her grandson could be killed no matter what she decides, Martha seeks out her estranged husband, Jacob (Wayne), to take the ransom money into Mexico and get his grandson (who he didn't know) back. With help from his two sons, James (Patrick Wayne) and Michael (Christopher Mitchum), and an old friend, Apache Sam Sharpnose (Bruce Cabot), Jacob agrees, setting off to bring his grandson back alive or his captors dead.

Without a doubt, this is the most graphically violent movie of Wayne's career. Others like The Alamo are violent, but nothing quite like this. For western fans alone, that feature makes this George Sherman-directed western worth watching. Sidenote: With Sherman sick and unable to be on-location during shooting, Wayne directed much of the movie. In a career that spanned five decades, this is certainly a departure for the Duke. It is trying to be more modern, using some heavy-duty blood squibs. Even when the violence isn't on-screen, it is beyond startling and even disturbing in some scenes. Somewhat oddly, there is still an oddly comic tune at times that feels out of place alongside the sometimes extreme violence.

Wouldn't you know it though? I grew up watching this film -- still have an old VHS recording off TBS along with the bare-bones DVD -- and will always remember it fondly. Beyond the on-screen violence, there is something different about this western that's hard to put my finger on. I think I like it because of its general eccentric nature; the violence mixed with the odd humor. 'Jake' was shot on location in Mexico in Durango and Zacatecas, giving it a real sense of authenticity. Many Wayne westerns -- The War Wagon, Sons of Katie Elder, The Undefeated -- were shot in Mexico, and wouldn't you know it? Mexico looks like Mexico, giving a great backdrop to the story. The always reliable Elmer Bernstein turns in an eclectic score that covers a lot of ground, but in a good way. Listen to the main theme HERE, but that's just a taste of what Bernstein's score has to offer. Another case of the little things aiding the bigger cause.

What else though? I love the interaction between Wayne and his two sons he hasn't seen in years. Estranged from his family (for unknown reasons), he only comes back at his wife's request. Wayne's introduction is priceless, O'Hara's Martha saying she needs a man as unpleasant as the mission he'll undertake. Cut to Wayne squinting down the barrel of a rifle in an extreme close-up with Bernstein's score playing. Jake is believed to have been killed years before, forcing him to hear many people say "I thought you were dead." Nope, still kicking, traveling through Texas and Mexico with his fiercely loyal dog. Seeing his sons again provides some of the movie's genuinely funny moments and also some surprisingly effective dramatic moments. Neither Patrick Wayne or Mitchum are out of this world actors, but they hold their own, as does a scene-stealing Cabot as an aging Apache.

The cast is far from done there, especially an underused Richard Boone as the calculating, brutal John Fain. Most villains cower in Wayne's shadow, but not Boone. Their scenes together are beyond perfect, few though they may be. Watch THIS scene for proof (apologies for the low quality). Fain's gang includes O'Brien (Glenn Corbett), a half-breed gunslinger, Pop Dawson (an unrecognizable Harry Carey Jr.), Kid Duffy (stuntman Dean Smith), a deadshot with a rifle, John Goodfellow (Gregg Palmer), a machete-wielding psycho, Trooper (Jim Burk), an Army deserter, and Will Fain (Robert Warner), John's brother who favors a shotgun. Singer Bobby Vinton makes a brief appearance as Jake's third son. Also look for recognizable western faces John Doucette, John Agar, Jim Davis, Hank Worden, Chuck Roberson (Wayne's stunt double), and Roy Jenson. Wayne's real-life son, Ethan Wayne, plays the kidnapped Little Jake.

Following the startling opening attack at the McCandles Ranch, things more or less settle down until the finale in the action department. After dealing with some pistoleros who want to get their hands on the $1 million ransom, Jacob and Co. head to the ruins of an old Spanish mission for the exchange. On a stormy night, the sequence that follows is a gem. It's brutal and vicious -- with at least two surprises -- but it always stays on a small-scale level where you know what's going on. The mission and plaza was supposedly used in the 1910s by revolutionary Pancho Villa for executions, adding a dark edge to the scenes. The gunplay isn't remembered as one of the all-time bests, but the finale is one of my favorites, partially due to the action, some to the script with its great one-liners.

Whatever the reasoning, I love this movie. I know it's not a great movie, but I love it just the same. John Wayne fans should appreciate this one, and western fans on the whole as well.

Big Jake <----trailer (1971): ****/****
Rewrite of review from July 2009

The Long Gray Line

Through all his films, a common, somewhat unexpected link bonds the movies of director John Ford.  It's not cowboys vs. Indians or John Wayne, Henry Fonda or Richard Widmark, but a sense of family and the importance of staying close to those you're related to. One of 11 children from an Irish family, Ford's beliefs filtered into his movies.  The stories, the settings, the characters, the famous John Ford stock company of supporting actors and actresses, Ford for all his aggression and belligerence was a family man.

When comparing his movies, it's easy to overlook his non-westerns.  When in front of a Congressional hearing, Ford even introduced himself saying "I'm John Ford, I make westerns."  But over a career that spanned decades and over 100 movies, it's unfair to just say he was a good director of westerns.  He was a good director for all his faults and tendencies that can drive me nuts at times.  Maybe the best example of a Ford movie -- non-western -- is 1955's The Long Gray Line, a departure from the expected Ford movie but still similar in many ways. 

An Irish immigrant fresh off the boat in New York, young Martin Maher (Tyrone Power) travels to the United States Military Academy at West Point in upstate New York. He enlists in the army and right away begins helping the cadets, some just as a mentor, others as an instructor in classes.  Marty can be a bit of a klutz, a bit of a doof at times, but when the chips are down, he's a good friend and a better man.  The years go by, and Marty continues to reenlist while also marrying Mary O'Donnell (Maureen O'Hara), a pretty redhead from Ireland. They send for Marty's family from Ireland (father Donald Crisp, brother Sean McClory) and life continues, the whole family together again.  And so the years go by, West Point unchanging as the world changes around it in the first half of the 20th Century.

When Ford gets it right, he typically hits a home run, and this qualifies in many ways.  One review described it as a "very Irish" movie.  And somehow that description is dead on more than just the main characters being Irish.  It's about family and sticking together through thick and thin.  More than that, it's the extended family you make in your life.  All those things that drive me up the wall are here, but whether he realized it or not, Ford reins it all in.  It never gets to be too much.  The story is downright sappy at  times, but I don't think Ford ever intended to do anything but that.  For the most part, it hits all the right notes, happy, sad and everything in between.

This was never an intentional slight, but this was the first Tyrone Power movie I'd ever seen from beginning to end.  I never had a negative idea of Power as an actor, but I guess it's fair to say it wasn't particularly positive either.  Above all else, Power's performance here as Sgt. Martin Maher is the reason to check this one out.  Marty is one of the most likable characters ever, willing to help whatever and whoever needs his help.  We see this over the years the impression he makes on his cadets who end up looking at him as a father figure, or at least a big brother looking out for their best interests.  Power gives Marty some funny bits, nails the emotional scenes, and handles an Irish accent that if handled poorly could have derailed the part.  A great performance to lead the movie.

Mentioned earlier, Ford's stock company of actors was a long list of actors/actresses the director worked with on repeated times.  If you've seen more than one Ford movie, you've no doubt seen these faces whether you knew it or not.  'Gray Line' is full of these folks, starting with O'Hara in a perfectly cast part as Marty's tough-minded wife Mary, an ideal match for the equally strong-willed and tough-minded Marty.  Crisp isn't in the movie for long but certainly makes quite an impression as Marty's old school Pops.  My favorite of the stock company has always been Ward Bond, and he doesn't disappoint as Major Keeler, Marty's commanding officer. Also look for Ford regulars Harry Carey Jr. and Patrick Wayne along with Robert Francis, Peter Graves, Philip Carey and William Leslie filling out some meatier supporting parts.

Only one complaint here, and I'll keep it brief.  A story that covers 50-plus years in 140 minutes can't help but feel a little episodic, a little disjointed.  Characters go in and out at will, no explanations offered, but the link through all the slower moving segments is Power as Martin Maher.  Throw the performances in with some great on-location shooting at West Point that help sell the tradition and honor of the academy, and you've got a winner if not quite a classic.

The Long Gray Line <---trailer (1955): ***/****

Cheyenne Autumn

A solid director early in his career, John Ford shot to stardom behind the camera thanks to success in one particular genre, the western.  Starting with Stagecoach in 1939 and continuing into the 1940s with his 'cavalry trilogy,' Ford became a go-to director westerns that he was able to put his own personal -- often romantic -- look at the American west in the latter half of the 19th century.  And in almost every one of these westerns, Native Americans were portrayed in a negative light, whether as a fearful presence or as murdering on-screen savages.

With his last western, 1964's Cheyenne Autumn, Ford did an about face in terms of the depiction with something that has since been dubbed 'white man's guilt.' Based on a true story, the movie attempts to put Native Americans in a positive light instead of the stereotypical savage so often associated with westerns.  It's a noble concept and feels like a bit of an apology on Ford's part, but too many things work against this movie from the start, ranging from the casting to the dull, slow-paced storyline.

It's 1878 and 300 members of a Cheyenne tribe on a reservation in the southwestern desert have had enough.  They don't receive supplies promised to them -- food, clothes, medicine -- and are basically being ignored by the U.S. government.  Led by two proud warriors (Ricardo Montalban and Gilbert Roland), the Cheyenne leave the reservation in the dead of night with hopes of marching almost 1,500 miles north to their ancestral hunting grounds in South Dakota and Montana.  Pursuing them is a cavalry outfit led by the sympathetic Capt. Archer (Richard Widmark) who tries his best to bring the Cheyenne in peacefully.  Nothing comes easy though and the terror sets in of 300 Cheyenne roaming the west in towns all along their trail.

To tell this story, Ford assembles a remarkable cast but as is so often the case with huge casts of big name stars, many are lost in the shuffle.  Along with those mentioned already, there's also Karl Malden, Edward G. Robinson, Dolores Del Rio, Carroll Baker, Jimmy Stewart, Arthur Kennedy, Sal Mineo, George O'Brien, and Sean McClory, along with several others I'll mention later.  Needless to say, that's a ton of talent involved, but the odd thing is almost NOTHING happens the entire movie.  It's downright dull at many points and never really gets the viewer invested in what's going on.

First off, the story does represent the Cheyennes in a positive light as a tribe just trying to survive now that their heyday has passed.  But then Ford spends a majority of the time with the white characters as the Cheyenne tribe disappears here and there for long stretches.  There's also the issue of casting Hispanic actors as Indians which just doesn't make much sense to me.  I figure there weren't many Native American actors working in Hollywood in the 1960s, but for a story trying to be authentic and fair, it would have been worthwhile to cast one or two.  Montalban and Roland represent themselves well as the warriors leading the tribe while Mineo says two or three words and enthusiastically takes his shirt off at one point.

One criticism of Ford over his career is his bawdy, broad humor that populates his movies, and Cheyenne Autumn doesn't disappoint.  About 90 minutes in, a 20-plus minute segment takes a complete detour from the story for some incredibly out of place humor in Dodge City with Stewart playing Wyatt Earp and Kennedy playing Doc Holliday.  Besides being incredibly miscast as the famous gunfighters, the tone of this extended segment is comical and over the top.  The tone to this point has been downbeat if not entirely interesting, and we get a segment here that is ripped right from any of the cavalry trilogy.  This comedic segment is so out of place that it can be difficult to watch in its badness.

What I enjoyed most about this movie were the scenes on the trail with the Indians or with the cavalry pursuing them.  Widmark makes the most of a part that just doesn't give him much to do, but Ford seems incredibly comfortable in the cavalry scenes.  Patrick Wayne (the Duke's son) plays Lt. Scott, a young officer out for blood, Mike Mazurki plays the veteran sergeant, and in a nod to Rio Grande and She Wore a Yellow Ribbon, Ben Johnson and Harry Carey Jr play troopers Plumtree and Smith. A running bit between the two has Archer consistently forgetting Carey's name.  Both parts were uncredited ones for the veteran character actors. Maybe because it feels like a throwback to better westerns, but the cavalry portions of the story are infinitely more watchable than much of the rest of the movie.

For all its flaws, 'Autumn' is still worth watching just to see that huge cast work together and as is typical with a Ford western, the Monument Valley scenery.  Through all the movies ever shot there, I don't know if its ever looked better serving as a backdrop for the story.  Overall though, this is an average movie from a great director like Ford.  It's too inconsistent to call a good western, but one that fans should still see.  A disappointing but intriguing last western from one of the genre's best.

Cheyenne Autumn <----trailer (1964) **/****    

The Rare Breed

A few months back I reviewed a western from director Burt Kennedy named 'Young Billy Young' starring Robert Mitchum. Kennedy made a career of straight-laced, been there and done that movies that still managed to be entertaining. Another director from the 1960s, Andrew V. McLaglen, could have been separated at birth from Kennedy.

Comparing the two directors' filmographies, McLaglen comes out on top with a deeper selection of worthwhile movies. Of course, that doesn't necessarily mean he was a great director. More and more, I think his success in directing was a result of a nice trio to have when making a movie. One, great casting, two, lots of action, and three, a well-written script (with some obviously better than others). But looking through McLaglen's movies, they can't all be winners, like 1966's The Rare Breed.

A long-time television director who directed almost 200 combined episodes of Gunsmoke and Have Gun Will Travel, McLaglen had finally hit the jackpot on the big screen with McClintock and Shenandoah. Both stories had their similarities, tough, family men trying to live their lives amidst a strong conflict. Most of McLaglen's movies followed a tried and true formula and were the better for it. But with his next movie, The Rare Breed, he is undone by an awful script that is about as unbalanced as they come that results in an incredibly dull finished product.

After traveling from England to the U.S. with a prize hereford bull, Martha Price (Maureen O'Hara) hopes to crossbreed her Hereford bull with the famous longhorns that roam across Texas and the west. With her daughter Hilary (Juliet Mills) along, Martha finds a buyer who pays handsomely for the animal, and then a cowboy, 'Bulldog' Sam Burnett (James Stewart) to help get the Hereford where it needs to be. Seeing a chance for some quick, easy cash, Burnett makes a deal with another rancher to "lose" the animal en route. There's another cowboy on their trail, a gun-wielding psycho, Simons (Jack Elam), who has plans of his own for the bull and the money.

Netflix only slightly recommended this late 60s western, but with the talent involved I thought it was a safe bet that I'd enjoy it. I wasn't looking for an instant classic, just a good movie. The story and the characters though are so uneven and all over the place that 'Rare Breed' never gets into any rhythm. Even at just 97 minutes, it felt incredibly long, and I found myself fast-forwarding for most of the last hour. If a movie doesn't grab you early, it probably won't later on either.

The idea of the Hereford cow moving into the west is nothing new but still presents a unique setting. The cattle drive was an integral part of the west in the 1800s and has been used many times before, handled best in Lonesome Dove and in a similar way in James Michener's Centennial. All three, including 'Rare Breed,' deal with the changing times as technology and innovations in all fields push the wild west into the history books. But this McLaglen entry never takes a stand and says anything, if anything help push the good old days out the door.

A bright spot in this dud is James Stewart who brings his character to life where it just as easily could have been a cardboard cutout of a character. Unfortunately, the rest of the cast isn't so good, and it's not necessarily their fault. O'Hara was an ideal woman to ride along with the fellas in the action/adventure genre; she was tough but endearing, hardhewn but likable, and her looks never hurt. But her Martha is dead on arrival here and not a good role at all. In the weird casting department, Brian Keith plays Bowen, a mad Scotsman living on his forted-up ranch in Texas. Typically I like Keith, especially as a character actor, but here he is every stereotype imaginable of a Scottish man. Other cast members include Ben Johnson as a crippled cowboy who is gone by the 15-minute mark, Harry Carey Jr as Elam's partner (gone by the 45 minute mark), and Perry Lopez, who you'd better look fast for in the background.

If you're going to assemble a pretty solid cast like this, give them something to do at least. Elam's villain is dispatched about 45 minutes in, and with him goes any conflict or sense of danger the story had. The second Keith's son is introduced is also the exact second you can predict the ending to the movie. It's not that this is a bad movie, it just has a lazy feel to it. The music is generic, the script plodding, and some truly awful looking greenscreen effects. Some California locations look nice, but when the filming location is the best thing about the movie you know you're in trouble.

The Rare Breed <---trailer (1966): * 1/2 /****