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Oregon Passage (1957)

Approved | | Western | 29 December 1957 (USA)
An army officer tries to help the Indians placed in his charge, but finds himself interfering with their way of life.



(screenplay), (novel)


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Complete credited cast:
Lt. Niles Ord
Sylvia Dane
Toni Gerry ...
Little Deer
Major Roland Dane
Marion Erschick (as Judith Ames)
Jon Shepodd ...
Lt. Baird Dolby
Sgt. Jed Erschick
Paul Fierro ...
Capt. Boyson


An army officer tries to help the Indians placed in his charge, but finds himself interfering with their way of life.

Plot Summary | Add Synopsis


SEE Shoshone war party ravage a lost patrol! SEE Female captive used to bait a deadly trap! SEE The Torture vengeance of Black Eagle! See more »




Approved | See all certifications »




Release Date:

29 December 1957 (USA)  »

Also Known As:

Conquista do Oregon  »

Filming Locations:

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(RCA Sound System)


Aspect Ratio:

2.35 : 1
See  »

Did You Know?


The working title of this film was Rio Bravo. See more »


Referenced in M Squad: Shot in the Dark (1958) See more »

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User Reviews

Standard B with Good Camera-work
13 June 2017 | by (New York City) – See all my reviews

Will anyone be offended if I say that Edward Platt was not as good a screen actor as Henry Fonda, nor John Ericson as interesting as John Wayne? I mention these startling opinions because the first half of this movie is a remake of FORT APACHE.

I'll go further with these radical insights and assert that Paul Landres was not as good a director as John Ford. While most of the actors are at least adequate, there are some wonky lines offered that didn't sound very convincing.

After the borrowed beginning, this settles down into a standard B western in which Ericson winds up fighting H.M. Wynant, the Indian chief who leads his warriors into battle by standing on a rock and raising his arms. It's an attempt to save the B Western by some serious location shooting in Deschutes National Forest in Oregon, and the camera-work of Ellis Carter is up to the job; he chooses lighting that suggests the forests of the Hudson Valley School of painting, rather than the Frederick Remington lighting that Ford lighted for his color excursion to the Southwest. However, the rest of it is standard fare.

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