Gil Kyle finds himself caught up in the politics and unrest of the American Civil War and soon gets himself framed for a murder. His only alibi is Candace Bronson, who is aiding the ...
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When a handful of settlers survive an Apache attack on their wagon train they must put their lives into the hands of Comanche Todd, a white man who has lived with the Comanches most of his ... See full summary »
The only white survivor of a Crow Indian raid on a wagon train is a young boy. He is rescued by the Sioux, and the Sioux chief raises him as an Indian in very way. Years later, the white ... See full summary »
Gil Kyle finds himself caught up in the politics and unrest of the American Civil War and soon gets himself framed for a murder. His only alibi is Candace Bronson, who is aiding the Confederate cause and has left the territory to deliver a vital message about a Yankee gold shipment. So he sets off in pursuit, running into desperados, government agents, and guerrilla fighters, who are more interested in profit than ideals. Written by
Gosh. I don't have the energy to chart the history of the western. But this fits into an interesting pocket. Many westerns including ones celebrated at the time seem mighty dreary to me. But this one moves along.
It is basically a chase, a sort of detective story. It features a cowboy in noir mode with the redheaded saloon gal in her noir role, superimposed on her western role.
Nearly everyone we see is pretending to be something they are not and several key reversals happen. Of course our noir everyman, played by Ford, is pure and open. Dogs and little girls sense this.
It is in black and white, shot in Utah following the pattern. It has Indians, renegade soldiers, a stupid sheriff, a big finale complete with jumping into a runaway wagon. Until then, we have noir, but it switches to a western ending. Honest cowpoke, gets feisty redhead.
Ted's Evaluation -- 3 of 3: Worth watching.
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