Sergeant Rutledge (1960)

Woody Strode was a Hollywood legend. A former college football player, Strode transitioned into films, starting off in bit and supporting roles before building to scene-stealing roles and appearances, one of the first African-American actors to do so in Hollywood history. He truly broke through in 1960 with a trio of roles, The Last Voyage, Spartacus (the most iconic of the 3) and Sergeant Rutledge, an interesting — if flawed — western that was ahead of its time.

It’s 1881 in the American Southwest and a trial is set to begin at a cavalry outpost. On trial is Sergeant Braxton Rutledge (Strode) from the 9th Cavalry — a regiment of Buffalo Soldiers —  who is well-respected by the officers and the troopers for his unquestioned ability and leadership as a soldier. The charge against him? The rape and murder of a young white woman and the murder of her father, the outpost’s commander. Rutledge’s defense is Lt. Tom Cantrell (Jeffrey Hunter), the sergeant’s previous commander. The evidence is damning against Rutledge with no hope of an acquittal, both because of the evidence but also the horror of what he’s believed to have done, a black soldier raping a white girl. Will the truth come out?

Before a Congressional hearing, director John Ford famously said “I’m John Ford. I make westerns.” In a long, distinguished career, Ford is especially associated with the western genre, from his cavalry trilogy to The Searchers to The Man Who Shot Liberty Valance. ‘Rutledge’ is interesting because of the subject matter and of its ahead of its time portrayal of the west. For one, the Buffalo Soldiers are a focus, the film playing almost like a tribute to the bravery of the black cavalry troopers. For two, the counter, the depiction of racism in a dark, uncomfortable story about rape and murder. As the trial develops, it’s just that, it’s incredibly uncomfortable. Where he started with The Searchers in a more realistic west, Ford continues here and returns again in Cheyenne Autumn.

Ford’s westerns typically stuck to pretty traditional storytelling devices. Later in his career, he branched out with ‘Rutledge’ a prime example. It’s a courtroom drama told with a flashback developing within witnesses’ testimonies. The storytelling technique works out nicely, the drama unfolding almost like a stage play. Ford is synonymous with the outdoors, huge vistas and natural landscapes, so it’s pretty cool to see him thrive filming indoors on a set (more on locations later). Unique lighting, cool camera work, it’s a change of pace, but it works.

Strode’s Sgt. Braxton Rutledge is a character that steals the show. At times, Strode can be a little wooden, but he definitely gets his chances to show off his acting chops! His testimony is a highly memorable scene, a very human moment. You get little touches of his history too — Hunter’s Cantrell finding a piece of paper Rutledge carries with him that gave the former slave his freedom — as well as the sergeant’s fellow soldiers and the respect we see they have for him. Strode delivers his best performance in a distinguished, history-making career. Juano Hernandez is excellent too as Sgt. Skidmore, another Buffalo Soldier and a former slave.

Having worked with Ford five years earlier in the classic The Searchers, Hunter actually gets more screentime as Lt. Cantrell. He’s a solid lead to keep the story moving, a character who takes part in both the courtroom and the flashbacks as an Apache war party goes on a murderous rampage. Hunter was an underrated actor, and he was always likable on-screen. His budding romance with Constance Towers (a key character Rutledge saves from Apaches) never really develops, taking away the more interesting focus of Rutledge, the trial and the cavalry patrol. Ford regulars Jack Pennick, Chuck Roberson and several others play supporting/background parts.

Other than the romance that goes nowhere, my biggest issue is the usual light-hearted Ford touches he always insisted on in his movies. Case in point, the wives of the officers, the old white ladies ‘ooohhhhing’ and ‘aaahhhing’ at the more scandalous moments of the trial as they fan themselves. It’s a story about a rape and murder, and these comedic touches are HORRIFICALLY out of place. Willis Bouchey plays the president of the court martial, balancing the trial and the officers’ wives. Carleton Young delivers a harsh, overdone performance as Captain Shattuck, the prosecuting officer.

If the courtroom drama isn’t pulling you in, the flashbacks of the cavalry patrol  should appease the more traditional western fans. The filming locations in Monument Valley and Mexican Hat in Utah are appropriately beautiful, an authentic backdrop to the wild west story. The movie overall is a unique gem though, both for its traditional elements and its more innovative, unique elements like the courtroom drama. Definitely give this one a watch.

Sergeant Rutledge (1960): ***/****

Wagon Master (1950)

The late 1940s and early 1950s were undoubtedly John Ford‘s strongest era as a director. His strongest contributions, not so surprisingly, of the time (with the exception of The Quiet Man) came from the genre he’s most associated with, the western. And while his famed cavalry trilogy — Fort Apache, She Wore a Yellow Ribbon, Rio Grande — is synonymous with the genre, another western of the time gets lost in the shuffle and is almost entirely forgotten. Here’s 1950’s Wagon Master.

It’s the 1880s in the American west and a group of Mormon settlers is being chased further west, populations in towns along the trail wanting nothing to do with the settlers. Looking to build a community in California, a Mormon wagon train — led by fiery Elder Wiggs (Ward Bond) asks two horse traders, Travis (Ben Johnson) and Sandy (Harry Carey Jr.) to work as wagon masters, driving the train west. It takes some convincing, but the two amiable horse traders take the job on. They’re working against the seasonal clock though, the Mormons needing to reach their California valley and plant a harvest before winter settles in. Throw in some gunfighters, bandits and Indian attacks, and the trail is anything but easy.

Remembered with The Searchers and The Quiet Man as Ford’s best, the cavalry trilogy are Ford working at his absolute best. Even 3 Godfathers — released in 1948 — is a gem. Why then is ‘Wagon’ so generally forgotten? Well, the obvious answer is that there’s no big star, no John Wayne or Henry Fonda. Instead, Ford gives the spotlight to three instantly recognizable character actors who often played supporting parts in his movies; Ben Johnson, Harry Carey Jr. and Ward Bond. More on our stars later, but the key here is Ford turning into a simpler, more lyrical story. It plays a little like a serial, slightly disjointed at 86 minutes. The wagon train moving west is about as iconic as a western gets, and Ford doesn’t miss here.

How accurate are Ford’s westerns to the actual wild west American history? His films always looked authentic, always felt authentic. The moral of the story though is simple to describe. Maybe they’re not the most authentic or realistic. Instead, Ford presents the American west as it should have been. It’s good guys vs. bad guys, noble heroes vs. dastardly villains, beautiful vistas and damsels in distress. ‘Wagon’ has all of that, a stripped-down story of a wagon train. Filmed on location in Monument Valley, ‘Wagon’ is a black-and-white gem. The backdrops are simply stunning. With a film a little light on story, the locations (set to composer Richard Hageman’s score, a frequent Ford composer) end up stealing the show.

Coupled with the Monument Valley locations, the trio of character actors getting lead roles is what’s brought me back to ‘Wagon.’ A real-life cowboy before Ford discovered him, Johnson is at his laconic, scene-stealing best. When Johnson’s Travis is tearing across the Utah desert, that’s him doing the riding, not a stunt double. As his buddy Sandy, Carey Jr. is a naive but nice (somewhat dim-witted) cowboy. The duo actually starred the same year in Ford’s Rio Grande, playing characters with the same names. Is ‘Wagon’ an unofficial sequel of sorts? Throw in the always welcome Ward Bond as Elder, a converted Mormon with a hinted-at checkered past, and you’ve got a heck of a lead trio. No huge stars, no problem.

Starring as love interests are Joanne Dru and Kathleen O’Malley. Ford regulars Jane Darwell, Russell Simpson and Francis Ford (John’s older brother) playing supporting parts. The villains are the Cleggs gang, led by murdering patriarch Shiloh (Charles Kemper) and including supporting parts for Hank Worden, James Arness, Fred Libby and Mickey Simpson. Also look for Alan Mowbray as a snake oil salesman and Ruth Clifford as his dance hall girl partner.

As I’ve mentioned, ‘Wagon’ isn’t the most pointed story around. It drifts a little bit, and the ending is especially odd, as if Ford didn’t quite know how or when to end his movie. There is not a ton of action along the way, but you’re watching for the characters and the location backdrop. When the Cleggs are re-introduced in the second act, the introduction does provide some uncomfortable tension going forward. Still, even with its flaws, it’s still a pretty good western. A few too many songs too along the way, along with 2 different community line dances (usual Ford touches).

Not on the level of the cavalry trilogy or Ford’s other classics, but a must-watch for western and John Ford fans alike.

Wagon Master (1950): ***/****

Mister Roberts (1955)

By 1955, Henry Fonda had been away from major film roles for going on 8 years. After serving in the U.S. Navy during World War II, Fonda worked in film for several years before returning to the stage, specifically in a role he would play for 8 years. Naturally, when the film rights were purchased, Fonda wasn’t originally considered. Makes sense, right? Thankfully, the powers that be made the right decision, ultimately casting Fonda in the titular role in 1955’s Mister Roberts.

It’s spring 1945 and Allied forces are pushing Japanese forces back across the Pacific with victory seemingly in reach. Thousands of miles back across the Pacific on a securely head island, Lt. Doug Roberts (Fonda) is the cargo officer on a cargo ship that helps supplies the nearby island and passing ships heading toward the fighting. After 2-plus years on the ship, Roberts feels he’s not doing enough to help the war effort, and he would like nothing more than to serve on a destroyer in the fighting. The ship’s commander, Capt. Morton (James Cagney), knows his value to the ship and its efforts though, so he won’t approve Roberts’ transfer. In the meantime, Roberts continues to keep working hard, all the while working as a buffer, a go-between between the much-maligned crew and the crazy captain.

A huge hit for many years on Broadway with Fonda in the starring role, ‘Roberts’ made the inevitable jump to the big screen with classic results. Impressive considering the production was less than smooth, director John Ford clashing with Fonda and Cagney to epic proportions (Fonda supposedly punched him square in the face) to the point Ford eventually left the production. Mervyn Leroy took over with Broadway director Joshua Logan also helping with reshoots. It’s debatable which director shot what footage — some Ford footage with some broad humor seems to stand out — and at times, the first 45 minutes are a little slow, but the end result is a highly memorable flick that deserves its classic status (or at least its mostly classic status).

You take for granted sometimes how good an actor can be. Henry Fonda was never a flashy actor, always stealing scenes in subtle, underdone fashion. Then, you finish the movie and realize how good he was. His part as Lt. Roberts belongs with his best roles, 12 Angry Men, The Grapes of Wrath, Once Upon a Time in the West, and who knows? It might be his best. Fonda specialized in a long distinguished career at playing the everyman, Joe Normal who’s thrust into an unpleasant situation. As Roberts, it’s dramatic, there is some comedy, and a genuine humanness that plays incredibly sympathetic on the screen. He wasn’t nominated for the Oscar, but he should have been.

Fonda not surprisingly steals the movie, impressive considering the cast around him. Cagney hams it up in a big way (even for him), overdoing it as the narcissistic, egomaniacal Capt. Morton. You need a bad guy though to counter Fonda’s Roberts, and you get it with Cagney. William Powell is perfectly cast as Doc, the ship surgeon who’s good friends with Roberts. Their dialogue-heavy scenes together are a gem, just 2 guys talking, not 2 guys acting. Jack Lemmon won an Oscar for his supporting role as Ensign Pulver, the young officer with some issues who clearly looks up to Roberts and is trying to impress him while dealing with his own shy, nervous, lazy demons.

Because that quartet clearly isn’t enough, the crew of the USS Reluctant (the cargo ship) features Ward Bond as the ship chief, Dowdy, with Ken Curtis, Philip Carey, Nick Adams, Perry Lopez, Robert Roark, Harry Carey Jr. and Patrick Wayne rounding out the cast. Also look for small parts for Martin Milner, Gregory Walcott and Ford favorite Jack Pennick.

The 1950’s were an especially popular time for navy stories, especially World War II navy stories set in the Pacific. ‘Roberts’ would even inspire a sequel, 1964’s Ensign Pulver (not good). This is one of the prettiest, sunniest, most beautifully shot movies of the decade. I can’t recall a single scene that isn’t sun-drenched with cool blue waters in the background. The US Navy aided during filming, and it shows with an authentic military look and feel to the proceedings. Composer Franz Waxman turns in a solid score too, appropriately balancing the comedic and dramatic moments. Give it a listen HERE.

In my latest viewing, I struggled early on in a 121-minute movie. It’s slow — really slow — setting things up. Thankfully, when things up, they do in lightning-quick fashion. After a slow first 45 minutes, ‘Roberts’ hits its groove. It builds and builds, right up into a highly memorable final stretch. This is a movie that’s ready to punch you right in the stomach with a tragic final 15 minutes. It helps save the early portions and ends the movie on a great final scene. Excellent flick — flaws aside — with Fonda in one of his best performances in a long list of best performances.

Mister Roberts (1955): *** 1/2 /****

 

Drums Along the Mohawk (1939)

Director John Ford is synonymous with the western genre, especially his films with John Wayne over a legendary career. One of Ford’s more underrated flicks covers a time in American history that hasn’t received much in the way of attention in films, the American Revolution. Oh, and it was released the same year as Ford’s iconic Stagecoach. Overshadowed much? Here’s 1939’s Drums Along the Mohawk.

It’s 1776 in colonial New York and newlyweds Gil (Henry Fonda) and Lana Martin (Claudette Colbert) are heading to their new home in the wilderness in the Mohawk Valley. The American Revolution is in its early stages, and though the main fighting between the American and British armies seems far away, the conflict still reaches the isolated community of Deerfield in the Mohawk Valley. As they start their lives together, starting a family and building a farm from the ground up, Gil and Lana and their neighbors must protect themselves against Torries and their Indian allies.

‘Mohawk’ was a family favorite growing up, so it’s always fun to go back and revisit a movie I watched countless times as a kid. It holds up, an entertaining, well-told story that manages to do a lot in its 103-minute run-time. An absolute stunner visually — with filming locations in Utah standing in for colonial New York — with colors popping in each scene (Gil’s green shirt, Lana’s blue dress), and a score from Alfred Newman moving the action along with each passing scene. The key though is rather obvious…the two leads.

With a story that covers a ton of ground (maybe too much in a relatively short film), you’ve got to be invested with the characters. Fonda and Colbert are perfectly cast together, Gil an able frontiersman and farmer, Lana, his beautiful wife and a city girl unaccustomed to life in the settlements but who loves her husband so much she goes along with the movie. There is a straightforward, very believable chemistry between the duo, both Colbert and Fonda breathing some life into familiar characters that could have been stereotypes, cardboard cutouts in the hands of lesser actors. You genuinely like this young couple trying to carve their lives out of the wilderness. Two excellent lead performances.

In an Oscar-nominated part, Edna May Oliver is a scene-stealer as Mrs. McKlennar, a wealthy, sassy widow who takes the Martins in for help around her farm. Feisty, hard-headed, intelligent and not putting up with any BS, Mrs. McKlennar breathes life into each and every scene she’s in, both dramatic and those scenes with a lighter touch. Also look for villainous John Carradine, Arthur Shields, Francis Ford (John’s brother), Ward Bond, Russell Simpson, Chief Big John Tree, Jack Pennick, Jessie Ralph, Eddie Collins and Roger Imhof in key supporting parts. Bond is a fun, boisterous presence (as always) and Imhof is excellent as General Herkimer, an aging officer who’s gained the respect of the militia.

A lot to recommend here. There’s a big, wide-open quality to ‘Mohawk,’ the Utah locations proving to be a key character. You truly get the sense of being alone, of being removed from the rest of the world. It’s what these first settlers truly faced, a dangerous life with constant threats in all directions. A scene with an Indian war party raiding the community is intense and uncomfortable, Seneca warriors running through the woods after fleeing settlers. Ford also does some of his best work not in action scenes, but moving monologues of characters talking about an off-screen battle. Cheaper, and just as effective!

There are some slower moments here and there in the first 50 minutes. ‘Mohawk’ is at its strongest when dealing with Gil and Lana, Mrs. McKlennar and of course, the Revolution. It is at its absolute strongest in the final 30 minutes when the Deerfield settlers fort up and are attacked by a large Indian/Tory force. An extended chase scene with Gil racing ahead of three pursuing warriors is exhilarating, a beautifully-cut sequence. There are plenty of those moments sprinkled throughout. A gem for many audiences. Highly recommended.

Drums Along the Mohawk (1939): *** 1/2 /****

3 Godfathers (1948)

The late 1940s and into the 1950s was an important stretch for John Ford, the legendary director turning in some of his finest work. His cavalry trilogy — She Wore a Yellow Ribbon, Fort Apache, Rio Grande — are the movies he’s most often associated with, but it was during the same stretch that Ford directed one of his best westerns, 1948’s 3 Godfathers, a flick that doesn’t always get the credit it deserves.

Three outlaws, Bob Hightower (John Wayne), Pedro Fuerte (Pedro Armendariz) and William Kearney (Harry Carey Jr.), have robbed the bank in the tiny, usually peaceful town of Welcome, Arizona. They hightail it out of town with a saddlebag full of gold, the town sheriff, Buck Sweet (Ward Bond), managing to shoot their water bag in a chaotic chase across the desert. Now, it’s a chess match for water, and who can go longer without it, the outlaws or the sheriff and his posse. Out in the desert, Bob, Pedro and William stumble across a pregnant woman alone and about to give birth. She dies soon after, leaving the trio in survival mode…and now caring for an infant. Without any horses, can they get him to safety?

There’s an aura often when you watch a Ford western, especially in this stage of his career. Trademark, signatures, whatever you want to call them, but they’re easily visible. Though ‘Godfathers’ has some darker moments, it’s one of Ford’s relatively lighter westerns. There’s drama but humor to balance it out. And there’s no other way to say it, this is cheesy, downright corny at times. My point though? It doesn’t matter. It’s a gem.

Not filming in his usual Monument Valley, Ford films instead in Death Valley, a sparse, dangerous stretch of land if there ever was, but an oddly beautiful land. Filmed in Technicolor, it’s a visual stunner, even the colors from 1948 popping to life. The skies, the clouds, even the costumes all leave a lasting impression. Add a familiar but memorable score from composer Richard Hageman (a frequent partner in Ford movies), and that halfway decent cast, you’ve got a winner.

This was actually the third retelling of the basic story, Ford even filming a silent version in 1919 (it was remade again in 1936, a solid flick all-around). What holds it together — however cheesy/corny/overdone at times — is the casting. A 40-year old Wayne steals the show as Bob, the no-nonsense leader of our little “gang” who’s long rode with Pedro and looks out for Kearney (AKA The Abilene Kid) as he goes on his first job. Armendariz and Carey Jr. match him step-for-step, chemistry to burn as first just survival is the key, but then so much more and something bigger when the infant’s survival is at stake. No matter whether it’s the lighter, comedic moments or the harsher, darker realities setting in, I absolutely love the 3 Godfathers characters. Basically the three nicest “bad guys” ever in a western.

Ford fills out his supporting cast with more than a few familiar faces from his Stock Company (character actors who were in many Ford movies). Ward Bond is excellent as Buck “Perley” Sweet, Welcome’s sheriff who unintentionally befriends the outlaws before realizing who they are, Mae Marsh playing his wife. Mildred Natwick is excellent in one quick scene (but a highly memorable one) as the Mother who as she’s dying asks the three outlaws to be godfathers to her infant son, who she names Robert William Pedro after them. Other familiar faces include Jane Darwell, Guy Kibbee, Hank Worden, Jack Pennick, and in his first credited role, Ben Johnson. It obviously wouldn’t be the last we heard of him in the western genre.

What may surprise some viewers here that ‘Godfathers’ become a variation of Three Men and a Baby meets an American wild west version of the Three Kings story from the Nativity story. So….yes, it is a bit of a Christmas movie! The 3 godfathers must travel to New Jerusalem in hopes of saving the baby, often looking to a bright star for guidance. There’s some faith, some religion, some good and evil along the way, and a story with some surprising twists in its last third. It is cheesy at times and may drive some viewers away, but it’s always been a favorite. Definitely worth a watch.

Ford actually dedicated the film to his longtime friend and star, Harry Carey (Carey Jr.’s father), who had died the year before in 1947. His son more than holds his own, stealing some scenes, especially when he sings Streets of Laredo to the baby as a lullaby. Any-hoo, give it a watch!

3 Godfathers (1948): *** 1/2 /****

The Man Who Shot Liberty Valance (1962)

Ask a western fan what John Ford movie is his favorite, and you’ll get any number of answers. Rightfully so too, Ford directing gem after gem. My personal favorite is 1948’s She Wore a Yellow Ribbon. Ford’s tone shifted later in his career though, portraying the American west in a more realistic, negative view. I’d say more honest. Movies like The Searchers, Two Rode Together, Sergeant Rutledge, and of course, 1962’s The Man Who Shot Liberty Valance, all dug deeper, portraying a west unlike we’d seen in the director’s previous efforts.

A lawyer from the East, Ransom Stoddard (James Stewart) is on a stagecoach heading to the town of Shinbone in a western territory when the coach is attacked by an infamous bandit, Liberty Valance (Lee Marvin), and his gang. Stoddard is savagely beaten but nursed back to health in Shinbone. It is turbulent times in the budding town and territory with a potential push for statehood on the line. Stoddard becomes a key person in the fight, all the way trying to figure out what life in the west is like. Valance constantly berates the lawyer, but a small rancher who’s fast with a gun, Tom Doniphon (John Wayne), always seems to be in the right place at the right time. With so much on the line for so many people, Stoddard must decide how far he wants to push his luck.

By all accounts, ‘Liberty Valance’ is the anti-John Ford western. Shot in black and white on the Hollywood backlot, there are no sweeping vistas, no majestic shots of riders on the horizon. Instead, this is a story about the people, their relationships and the turbulent times they find themselves in. There’s little in the way of gunplay/gunfights. It’s just not your typical western, but it is a film that’s firing on all cylinders. A classic that deserves its reputation.

Never a bad thing when two Hollywood legends star together. They were in How the West Was Won together but had no scenes together. They were excellent together in several great scenes in The Shootist. What’s so cool here is the dynamic. Both Ransom and Tom believe in the same things, just different ways of accomplishing those things. I love Stewart’s Ransom and the character arc he goes through. It’s a fascinating character. He hates guns, hate violence and abhors bullies. He sees Tom’s ways of doing things and can’t get on-board with it…until he does. Not your typical western hero — by a long shot — but one that brings a great, unique edge to a familiar genre.

Ford and Wayne go together like peanut butter and jelly, albeit PB that’s abusive to the J. Wayne did some of his best work in Ford films — especially She Wore a Yellow Ribbon and The Searchers — but Ford was infamous for railing on his star non-stop. So was the case here as Ford picked on Wayne mercilessly. Well…it worked. This is one of Wayne’s more underrated parts. His Tom Doniphon is a bit of a bully himself, constantly calling Ransom ‘Pilgrim,’ but he’s a small rancher who’s well-respected (even feared) and is lightning quick with a gun. Like Ethan Edwards in The Searchers, Doniphon is a tragic character here too, an arc that all comes together in a fitting, moving and at times, tough to watch conclusion. Kudos to the two Hollywood greats.

Easily one of Ford’s strongest casts from top to bottom. Vera Miles is Hallie, the uneducated waitress who’s drawn to both Tom and Ransom (oh no! A love triangle!), avoiding plenty of awkward pratfalls. Marvin is terrifyingly perfect as Liberty, an unhinged psycho capable of all sorts of violence. Edmond O’Brien hams it up and steals his scenes as alcoholic newspaper editor Dutton Peabody. Andy Devine is the cowardly sheriff because of course he is. Gotta mention Woody Strode who in subtle fashion steals his scenes (as he usually did) as Pompey, Tom’s “man,” almost a right-hand man kind of deal, not a slave but always at his side.

Also look for John Carradine, Denver Pyle, Lee Van Cleef, Strother Martin, Jeanette Nolan, John Qualen and plenty more familiar faces to round out the cast.

Earlier in his career, Ford’s films tended to have a broad, obvious sense of humor that bordered on too much (and sometimes was just way too much). His later films lost that innocence. Sure, Devine gets some laughs, but it’s far more subtle. There’s a darkness here that hangs in the air. It’s always building to that inevitable showdown, but even there, a twist is revealed in a lightning-quick noir-esque flashback that’s beyond perfect. There is an edge, a violence, a meanness (especially in Valance) that brings the movie up a notch. The black and white filming goes a long way toward aiding the cause in that department.

‘Valance’ is famous for one of the best lines in western history. Simpy put, it’s “When the legend becomes fact, print the legend.” The story is held with a framing device that adds some additional layers to the story. I won’t spoil it here, but it works on basically all levels. Some great storytelling from beginning to end as we try to piece it all together as an audience.

I can’t say enough about this western. It’s not your typical Ford western, not even your typical western in general. It had been years since I watched it, and I loved catching back up with it. I came away very impressed with Stewart’s performance this time. There’s a moment late where he’s simply a man who’s had enough. He’s been pushed too far. If he has to die righting a wrong, his Ransom Stoddard — educated to the bone — is ready to pick up a gun and die for it. The end result propels the last 25 minutes of the movie to a highly memorable finale. Go watch this one.

The Man Who Shot Liberty Valance (1962): ****/****

 

My Darling Clementine (1946)

I recently reviewed 1957’s Gunfight at the O.K. Corral, one of many versions Hollywood has done of Wyatt Earp, the Cowboys and Tombstone’s infamous history in the 1880s. Not drifting too far here today with another version of one of the west’s most iconic moments, 1946’s My Darling Clementine.

As they drive a herd of cattle west to California, former lawman Wyatt Earp (Henry Fonda) and his 3 brothers stop outside the time of Tombstone. While visiting the town, rustlers steal the herd and kill the youngest Earp brother, James. In hopes of finding his brother’s murderer, Wyatt takes a job in Tombstone as the town marshal. It’s there he tangles with several key people in town, including gambler Doc Holliday (Victor Mature) and cattle rancher Old Man Clanton (Walter Brennan). Now, all Wyatt has to do is get proof of who killed his brother and stole the herd of cattle.

Notice anything? This 1946 western has basically little to no connection the real-life historical incidents. Yes, there was a Wyatt Earp and Doc Holliday in Tombstone…and…well, that’s about it. The story takes place in 1882 (a year after the actual incidents), Holliday is a surgeon and not a dentist, Old Man Clanton was dead and never actually met Wyatt, and James Earp lived into the 1920s. So if you’re looking for a history lesson, this isn’t it.

What’s the end result then? Like many John Ford westerns, ‘Darling’ is more interested in the legend, the mythology and the romance of the old west. Based on a true story, this is as close to an arthouse western as there ever was. Filmed in black and white, it is episodic, romantic, idyllic, hauntingly pretty and has touches of a film noir in its use of shadow and light. Other than the song My Darling Clementine, the soundtrack is minimal. We’re transported to a little down in the Arizona desert with no sense of the rest of the world. There’s a sense we’re somewhere different, somewhere far-off. Little to no gunplay, style over substance, this western is one of a kind…mostly for the good.

Henry Fonda is an all-time great for a reason. He has countless roles that I could identify as his most famous, best, most iconic, whatever description you want to say. His performance as Wyatt Earp belongs in that conversation, but I struggle with a specific reason. It’s his easy-going, laconic manner…until he’s not. It’s the smile that pops up. It’s the gentle physicality, like the iconic shot of him in a chair, leg propped up on a post as he surveys Tombstone. He moves so gracefully too, especially as he leisurely walks up the street to the O.K. Corral. I don’t know if this is what the real Wyatt Earp was like — history and revisions say it was not — but there’s something straightforward, charming and immensely likable about Fonda’s Wyatt.

Reading about ‘Darling,’ Victor Mature seemed to be Ford’s whipping boy during production. His Doc Holliday is interesting, but whether it’s the script (where I lean) or something else, Mature isn’t given a great chance to shine. His Holliday is too moody, too intense for his own good. There’s some good chemistry between Fonda and Mature — especially a scene early as they wait for a play — but the not so accurate history does them no favors. All records indicate they were at least partially friends in real life (Wyatt and Doc that is), but here, they’re barely on speaking terms. Some good potential for the character, but it falls short.

Who else to look for? Brennan as Old Man Clanton is an out and out villain, a sneering, intimidating murderer. John Ireland plays his youngest son, Billy, while Grant Withers mostly looks mean with a beard as Ike. The Earp brothers include the always welcome Ward Bond, Tim Holt and Don Garner. Linda Darnell plays Chihuahua, a Mexican saloon girl who loves Doc (and sings a couple songs), while Cathy Downs plays Clementine, a past love interest of Doc’s who Wyatt takes a shine to. Also look for Ford regulars Jane Darwell, Russell Simpson, Jack Pennick and Ford’s brother, Francis Ford, in small supporting parts.

It had been years since I watched this western, but something struck me on the most recent viewing. I found myself bored with this first hour. There is little to no story with the pacing at an almost glacial pace as we meet Wyatt, Doc and Tombstone. An episodic story is one thing, but ‘Darling’ just sorta drifts along. I found myself drifting more than I remembered. Things definitely pick up over the last 40 minutes, but I had to at least bring up the pacing issue.

That said, definitely give this John Ford western a shot. Shot on location in Monument Valley (as  a background to Tombstone), ‘Darling’ is a visual treat. Ford’s movies have a reputation for their style, look and visual appeal, but this may be him at his best, right up there with She Wore a Yellow Ribbon. An iconic western with plenty of memorable scenes, it’s an excellent film and well worth checking out.

My Darling Clementine (1946): ***/****

She Wore a Yellow Ribbon (1949)

Director John Ford is known, remembered and respected for any number of westerns from a long, distinguished career. For me, I’ve always been a big fan of his ‘Cavalry trilogy,’ starting with 1948’s Fort Apache and 1950’s Rio Grande. Smack dab in the middle? A movie featuring — for me — star John Wayne‘s best role, 1949’s She Wore a Yellow Ribbon.

It’s the fall of 1876 and the U.S. cavalry is dealing with the fallout following the massacre at the Little Big Horn where George Armstrong Custer and much of his Seventh Cavalry was wiped out. At isolated Fort Starke, Captain Nathan Brittles (Wayne) is just days away from retirement after a distinguished 40-year career. He’s been given one last mission; to take a patrol out and see if he can’t drive a growing Indian force back to the reservation. Brittles is saddled with an additional job though, transporting two women to safety in the wake of the likely coming attacks. With a potentially huge assault mounting as the Indian tribes band together, Brittles and C Troop has their work cut out for them.

Recently I reviewed Ulzana’s Raid, a cynical 1972 revisionist western that showed what the cavalry, the Indian wars and the American west was really like. Ford’s Cavalry movies? More like the way the west should have been. I liked ‘Ribbon’ as a kid but didn’t love it. It’s too slow with not enough action. It’s only as I grew up that I appreciated it more and more. Now, I think of it as John Wayne’s best role (along with The Searchers and The Shootist) and in general, one of the best westerns ever made. Other Ford-Wayne pairings usually get the attention, but this definitely belongs in the conversation.

What an enjoyable movie. The kicker? There’s little to no story in a 103-minute running time. Brittles is retiring in a few days, an Indian uprising looms…and go! ‘Ribbon’ features an at-times leisurely pace, moving from episode to episode. It doesn’t need a detail-oriented story. We’ve got the situation, a laundry list of great characters and so much more. Filmed on location in Monument Valley (a Ford favorite), ‘Ribbon’ is visually stunning, the Technicolor filming absolutely popping off the screen. The cinematography rightfully earned an Academy Award win. Throw in a memorable score from composer Richard Hageman, and you’ve got a lot of key pieces kicking into place left and right.

As an actor, Wayne often gets the short end of the stick. With the right script, the man could A-C-T. After seeing Wayne in Red River, Ford exclaimed “I didn’t know the SOB could act,” resulting in this pairing. Wayne as Brittles is pitch-perfect. Here’s the Duke playing a man 20 years his superior (gray in his hair and mustache, lines on his face), and nailing it. Brittles is a career officer, a loyal, brave and honorable soldier who gets the job done but looks out for his men in the process. What’s always appealed to me about the performance is that it never feels like show-boating. This is understated, emotional and never feels forced.

Two memorable scenes come to mind. One early on has Brittles visiting the grave of his wife who passed away some 9 years before. Watering plants on the grave and sitting in a small folding chair, he tells her about the new developments in his day-to-day life. He smiles, filling her in on all the details. A scene that easily could have been overdone or fake, but Wayne delivers in subtle, scene-stealing fashion. The same for a late scene when Brittles receives a silver watch with an inscription from C Troop. An embarrassed Brittles reaches for his glasses and holds back tears as he reads the inscription. Anyone who thinks Wayne couldn’t act should watch those scenes and then re-evaluate their opinion.

Plenty of the John Ford Stock Company join Wayne in an impressive cast. Joanne Dru plays Olivia Dandridge, a young woman visiting her uncle at Fort Starke who’s also caught the attention of two lieutenants in C Troop, Flint Cohill (John Agar) and Ross Pennell (Harry Carey Jr.). The dynamic isn’t great and is the weakest aspect of the movie, but it’s not as bad as Red River! Ben Johnson is another scene-stealer (as usual) as Sgt. Tyree, the scout and point man for C Troop, the man Brittles relies on most. He’s also a real-life cowboy so all those scenes of Tyree tearing across the horizon are legit. Ford regular Victor McLaglen is a welcome addition to the cast as Quincannon, a similarly retiring veteran soldier who’s longtime friends with Brittles.

Also look for George O’Brien, Mildred Natwick, Arthur Shields and an uncredited Paul Fix in a small scene.

Ford movies lean toward the romantic side of the cavalry and the west. He has a respect for the men who donned the blue uniforms and curled campaign hats for $30 a month and constant danger over the next rise. These are good, old-fashioned stories with strong characters (if at times stereotyped) and style for days. Just a gem of a movie. Not always identified as Ford or Wayne’s best, but it should be. A classic worth checking out and/or re-visiting.

She Wore a Yellow Ribbon (1949): ****/****