Rio Grande takes place after the Civil War when the Union turned their attention towards the Apaches. Union officer Kirby Yorke is in charge of an outpost on the Rio Grande in which he is ... See full summary »
Three outlaws fleeing a posse through the desert come upon a dying woman and her baby in a wagon. Before she passes away, she makes the men promise to take care of her baby and get it safely through the desert.
Four outlaws come to New Jerusalem, a town full of courteous and religious people, to rob the bank. After shooting the president of the bank, only three make it out of town followed by the ... See full summary »
A Union Cavalry outfit is sent behind confederate lines in strength to destroy a rail/supply center. Along with them is sent a doctor who causes instant antipathy between him and the ... See full summary »
Aboard the freighter Glencairn, the lives of the crew are lived out in fear, loneliness, suspicion and cameraderie. The men smuggle drink and women aboard, fight with each other, spy on ... See full summary »
Three outlaws on the run discover a dying woman and her baby. They swear to bring the infant to safety across the desert, even at the risk of their own lives. Written by
Jim Beaver <email@example.com>
When John Wayne is "greasing" the baby boy, Robert William Pedro, it is evident that the baby boy is actually a baby girl. See more »
While Wayne is holding the baby at the wagon, Pete is asked if he got any information about looking after the baby from its dying mother. He is supposed to say "Do you think I was going to drive the lady crazy?" what he says is "Do you think I was going to drive the lazy crazy?" See more »
I changed my mind several times about the merits of this often neglected Ford Western. Despite the eloquent and persuasive praises by Gallagher, McBride, and Sarris, somehow it failed to win me over. However, having seen it recently I was genuinely struck by its ravishing cinematography, beautifully shot by Winton C Hoch, who would later photograph "The Searchers". The cinematography is astonishing and this is hardly surprising since Ford was a poet of images. If you disregard the film's religious and biblical passages and focus on its visuals, it becomes an inspiring, extraordinary work. To paraphrase McBride in his book on Ford, the simplicity of the film's emotion and sentiment is balanced by the sophistication of its visual style. For this reason, I think it is one of Ford's masterworks, but it is not for everybody.
18 of 29 people found this review helpful.
Was this review helpful to you?