An artist working in a remote army post is juggling the storekeeper's daughter, his fiancée newly arrived from the east, and the Indian Chief's daughter. But when a vengeful settler manages...
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Marshal Flagg, an aging lawman about to be retired, hears that his old nemesis, the outlaw McKaye, is back in the area and planning a robbery. Riding out to hunt down McKaye, Flagg is ... See full summary »
Saadia is a wild, strange Arab girl whose life has been dominated by a local sorceress, a vengeful outcast in the community, who has convinced her she has the "evil eye" and brings disaster... See full summary »
An artist working in a remote army post is juggling the storekeeper's daughter, his fiancée newly arrived from the east, and the Indian Chief's daughter. But when a vengeful settler manages to get the army and the braves at each other's throats his troubles really begin. Written by
Jeremy Perkins <firstname.lastname@example.org>
Forget all the nasty things that reviewers have said about MOHAWK, an unpretentious, thoroughly enjoyable, ahead-of-its-time 1956 Western starring handsome Scott Brady (was the word "hunk" in use as early as the 1950s?) as an artist from Boston commissioned to do a series of frontier paintings to present the Iroquois Indians in a favorable light. Since Brady usually does these paintings with his shirt off, small wonder he attracts the amorous attentions of a trio of gorgeous gals: brunette Indian maiden Rita Gam, auburn-haired sexpot Allison Hayes and blonde beauty Lori Nelson (try and guess which one he winds up marrying; a nice surprise!). For about an hour, the romantic cavorting of Brady and his beauties take the forefront (the Breen office must have been napping during a lakeside interlude and make-out session with Brady & Gam wearing as little as possible). Then the final 20 minutes get down to the inevitable cowboys vs. Indians clash, but since the screenplay is refreshingly original enough to make a distinction between the good and bad white men, and the savage vs. civilized Indians, you'll probably care about who dies and who survives. And rather than try to stage the climactic uprising within the limits of its modest budget, MOHAWK smoothly incorporates some spectacular footage from John Ford's 1939 extravaganza "Drums Along the Mohawk" (which accounts, I imagine, for why this independently-produced movie was released by 20th Century-Fox). So what's not to like? Slick direction, a sensible and often good-humored screenplay, a terrific supporting cast, and beautiful color photography contribute to making this good-natured escapism a lot more enjoyable than many of its big-budget, boring CinemaScope counterparts from the same era. A hearty, sincere, belated thanks to everyone involved with MOHAWK. They appear to be having a very good time, and so should you, the viewer.
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