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 ... See full summary »
When the government agency fails to deliver even the meager supplies due by treaty to the proud Cheyenne tribe in their barren desert reserve, the starving Indians have taken more abuse ... See full summary »
Rio Grande takes place after the Civil War when the Union turned their attention towards the Apaches. Union officer Kirby Yorke is in charge of an outpost on the Rio Grande in which he is ... See full summary »
Sprawling epic which follows the Prescotts, an emigrant family through four generations, from the Erie Canal in the 1830's to their settled home in the West a half a century later. On the way they encounter river pirates, and escape with the help of fur trapper Linus Rawlings, who subsequently marries one of their daughters, Eve. The parents are drowned on a foundering raft, and the other daughter Lilith becomes a riverboat singer and catches the eye of a genteel adventurer Cleve Van Valen. They cross the plains together in a wagon train and make and lose a fortune in California; meanwhile Linus has turned farmer and, comes the Civil War, joins the Union Army and is killed at the Battle of Shiloh. One of his sons Zeb also joins the army and stays after the war as a cavalry officer and is sent to Colorado to help guard the pioneering railroad against the Indians, whose land they are crossing. By this time Lilith is the elderly lady of the family, having survived long enough to see the ... Written by
John Ford's habit was to always sit beside the camera while it was filming so he could watch the action intently. Unfortunately because of the triple lens on the Cinerama camera, he kept appearing in shot until director of photography Joseph LaShelle hit on the idea of building a rig that allowed Ford to sit above the camera. See more »
When Linus Rawlings throws a dagger in to the chest of one of the bandits, the shadow of its wire can clearly be seen against the tent. See more »
[as the camera pans over the Rocky Mountains]
This land has a name today, and is marked on maps. But, the names and the marks and the maps all had to be won, won from nature and from primitive man.
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More quantity than quality, but a truly all-star cast
Watching a letterboxed version of "How the West Was Won," I noticed the dividing lines on the screen, and it was clear that much of the picture was still missing even in this format. But neither hindered my enjoyment of this sprawling epic, even if James R. Webb's Oscar winning screenplay left something to be desired. Alfred Newman's music score is terrific, and so is that all-star cast. Unlike those disaster flicks of the 70s like "The Poseidon Adventure" and "The Towering Inferno" that claimed to be stuffed with stars but actually boasted "names" (usually familiar performers, primarily from TV, who rarely headlined a first class feature), "How the West Was Won" has the genuine article. John Wayne, James Stewart, Gregory Peck, Richard Widmark, Henry Fonda, George Peppard, Robert Preston, Carroll Baker, and Debbie Reynolds may mean little at the ticket windows of the 90s (and many of them are dead, anyway), but all were above the title stars who carried their own films at the box-office in the early 60s.
Three directors helmed this project but I'd be hard pressed to distinguish whether John Ford, George Marshall or Henry Hathaway were behind the camera during any particular episode if the opening credits didn't identify each segment and its director. I suppose "How the West Was Won" is more quantity than quality, but it's entertaining overall.
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