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 ...
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Texas Ranger Jake Cutter arrests gambler Paul Regret, but soon finds himself teamed with his prisoner in an undercover effort to defeat a band of renegade arms merchants and thieves known as Comancheros.
After the Civil War, ex-Union Colonel John Henry Thomas and ex-Confederate Colonel James Langdon are leading two disparate groups of people through strife-torn Mexico. John Henry and ... See full summary »
During the Alaska gold rush, prospector George sends partner Sam to Seattle to bring his fiancée but when it turns out that she married another man, Sam returns with a pretty substitute, the hostess of the Henhouse dance hall.
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 boys want to get his attention they decide to rob... 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 commander. The secret plan for the mission is overheard by a southern belle who must be taken along to assure her silence. The Union officers each have different reasons for wanting to be on the mission. Written by
John Vogel <email@example.com>
The film marked the beginning of mega-deals for Hollywood stars. John Wayne and William Holden received $775,000 each, plus 20% of the overall profits, an unheard-of sum for that time. The final contract involved six companies and numbered twice the pages of the movie's script. The film, however, was a financial failure, with no profits to be shared in the end. See more »
At the end of the officers' conference Colonel Marlow states; "No glory hunting Richards. Anything knock this into a cocked hat it'll be a firefight." The term "firefight" did not come into use until the end of the 19th century. See more »
Roses are red, violets are blue, the camera is looking right at you... oh, I simply must have another; that man in the white coat moved.
Col. John Marlowe:
That's not all he's gonna be moving.
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The fields, woodlands and rivers of Tennassee drenched in summer sunlight are in stark contrast to the horrors of civil war as depicted in John Ford's "The Horse Soldiers". John Wayne's mission to lead a troop of Yankee soldiers behind Confederate lines to destroy a railway base vital to the South's supply lines is fraught with danger. Skirmishes inevitably result in injuries and death, the former often giving rise to amputations. Although made well before the time that the full appalingness of warfare come to be depicted in films such as "Saving Captain Ryan", from "Drums Along the Mohawk" onwards Ford never shirked the unpleasant. Incurable romantic that he was, he gave his work a hard edge whenever it was needed. Although the term "road movie" to categorise films based on journeys was not then in general usage, this fascinating work, with horses replacing cars, stands as one of the genres finest examples. And yet, judging from many of this site's user comments, it remains one of Ford's most under appreciated films. I find this rather strange as it contains most of the ingredients that are the hallmarks of those generally regarded as masterworks, westerns such as "The Searchers", "The Man Who Shot Liberty Valance" and "My Darling Clementine", not forgetting his glorious Irish romp, "The Quiet Man". A shrew is tamed, there is a measure of drunken knockabout and the soundtrack pulsates with rousing cavalry tunes and bugle calls. I have no quarrel with the fact that it is episodic rather than tightly knit. This somehow makes it all the more compatible with its journeying structure. Each episode on the way is brought out in sharp relief, be it the Southern belle's false hospitality and attempted betrayal, the central climax at the railroad station or the delightful interlude of the attack by the boy soldiers from the Confederate military academy (one of my favourite sequences from any Ford film). John Wayne plays what is almost a variation on his Ethan role in "The Searchers", his anger here not vent on Indians but on the medical profession which he holds responsible for his wife's death. His embittered relationship with his company's medical officer played by William Holden gives this otherwise picaresque film a strong dramatic unity. I can only advise those who consider this one of Ford's minor works to see it several times. From my own experience I find it emerges stronger on each viewing.
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