After Custer and the 7th Cavalry are wiped out by Indians, everyone expects the worst. Capt. Nathan Brittles is ordered out on patrol but he's also required to take along Abby Allshard, ... See full summary »
The US Army is under pressure from the desperate relatives of white prisoners of the Comanches to secure their rescue. A cynical and corrupt marshal, Guthrie McCabe, is persuaded by an army... See full summary »
J.D. Cahill is the toughest U.S. Marshal they've got, just the sound of his name makes bad guys stop in their tracks, so when his two young boy's want to get his attention they decide to ... See full summary »
In John Ford's sombre exploration mythologising of American heroes, he slowly reveals the character of Owen Thursday, who sees his new posting to the desolate Fort Apache as a chance to claim the military honour which he believes is rightfully his. Arrogant, obsessed with military form and ultimately self-destructive, Thursday attempts to destroy the Apache chief Cochise after luring him across the border from Mexico, against the advice of his subordinates. Written by
Bernard Keane <BKeane2@email.dot.gov.au>
When Captain York and Beaufort are riding to meet Cochise they pass a spot on the Colorado River which is on the northern border with Utah not the southern border of Arizona with Mexico. See more »
[speaking of Col. Thursday]
But what of the men who died with him? What of Collingworth and...
Oh, of course, Collingwood.
That's the ironic part of it. We always remember the Thursdays, but the others are forgotten.
You're wrong there. They aren't forgotten because they haven't died. They're living - right out there.
[points out the window]
Collingwood and the rest. And they'll keep on living as long as the regiment lives. The pay is thirteen dollars a month; their diet: beans and ...
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Director John Ford's first entry in his cavalry trilogy is this excellent film about life on a military outpost far from the glamorous theaters of the Indian Wars on the northern plains. The film touches on character development of the officers and enlisted men on the post, family relationships and the class distinctions among the military social order. Henry Fonda is great as a bitter, unhappy colonel who feels unappreciated by the military hierarchy and is displeased by his assignment to the isolated desert areas. John Wayne gives the film just the right balance as a captain who looks out for his men and knows Indians. Ford has his regular cast on board for the film, and John Agar and Shirley Temple handle the romantic clinches. The pace is slowed somewhat by comedy bits that add nothing to the film's substance. The black and white camera work is stunning and the music is reflective and melancholy.
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