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Cheyenne Autumn (1964)

Not Rated | | Drama, History, Western | 30 October 1964 (France)
The Cheyenne, tired of broken U.S. government promises, head for their ancestral lands but a sympathetic cavalry officer is tasked to bring them back to their reservation.

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(suggested by "Cheyenne Autumn"), (screenplay)
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Nominated for 1 Oscar. Another 1 win & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Capt. Thomas Archer
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Deborah Wright
...
Capt. Wessels
...
Red Shirt
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Spanish Woman (as Dolores Del Rio)
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Little Wolf
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Dull Knife
...
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2nd Lt. Scott
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Miss Plantagenet
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Jeff Blair
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Tall Tree
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Senior First Sergeant
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Maj. Braden
...
Dr. O'Carberry
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Storyline

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 than it's worth and break it too by embarking on a 1,500 miles journey back to their ancestral hunting grounds. US Cavalry Capt. Thomas Archer is charged with their retrieval, but during the hunt grows to respect their noble courage, and decides to help them. Written by KGF Vissers

Plot Summary | Add Synopsis

Taglines:

LAND-GRABBING DOLLAR PATRIOTS! See more »

Genres:

Drama | History | Western

Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

30 October 1964 (France)  »

Also Known As:

John Ford's Cheyenne Autumn  »

Box Office

Budget:

$4,200,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(70 mm prints)| (35 mm prints)

Color:

(Technicolor)

Aspect Ratio:

2.20 : 1
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Did You Know?

Trivia

The final duel between Little Wolf and Red Shirt was shot on the day that President John F. Kennedy was assassinated in Dallas, TX. Though legends say that John Ford, so saddened by the death of the first Irish-descended president of the nation, mourned his death by halting the shoot on that day, production documents actually show that it was the only scene to be shot that day, and they moved from Utah in the afternoon as originally scheduled. See more »

Goofs

In various shots, most notably when we first see the cavalry outpost, jet contrails can be seen in the skies. See more »

Quotes

Doc Holliday: Forgive me, mademoiselle.
Miss Plantagenet: What the hell kind of talk is that?
Wyatt Earp: Now, as I understand it, a mademoiselle is a madam who ain't quite made it yet - only younger and friskier. I'd call it a compliment.
See more »

Connections

Featured in Directed by John Ford (1971) See more »

Soundtracks

Oh, Dem Golden Slippers
(uncredited)
Written by James Allen Bland
Played on the banjo during the saloon
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User Reviews

The greatest John Ford Western?
1 November 2003 | by (United Kingdom) – See all my reviews

I rediscovered "Cheyenne Autumn" recently and must confess to finding the temptation to hail it as almost the greatest of the John Ford Westerns irresistable. I say "almost" as I realise that the claim needs a certain amount of caution. When set beside the formal perfection of "The Searchers", "My Darling Clementine" and even "She Wore a Yellow Ribbon", "Cheyenne Autumn" has a few weak moments and certainly some longeurs. And yet it has a monumental sweep that somehow outstrips them all. Ford's final Western is an apologia for the white Americans' treatment of the American Indian and his own depiction of them as the bad guys in so much of his previous work. Here the Cheyenne are the victims of White oppression, forced to live far to the south of their natural homeland and desperate to return. Depleted in number mainly through illness and starvation they set out on the long trek north, beset on all sides by alien landscape conditions and the American cavalry in pursuit. These pathetic remnants of a once noble tribe now consist of little more than a group of women and children - very few of the male warriors are left - accompanied by a white Quaker woman who has befriended them. One American cavalry officer (Richard Widmark in one of his best performances) recognises their dilemma and does all he can to summon official awareness of their plight. In a sense this is one of the finest of all road movies, the protagonists forced to face the long journey home across a seemingly endless wilderness. Only through an inner determination are the remnants of the tribe able to make it. It is also one of cinema's most powerful documentations of man's inhumanity to man, not light years away from "Come and See" and Ford's own "The Prisoner of Shark Island". The film is badly flawed by the intrusion of a semi-comic interlude depicting Wyatt Earp and Doc Holliday more intent on card play in Dodge City than in what is happening around them. This only serves to slow the pace of a film that is often prone to encompass peripheral detail to the detriment of moving purposefully forward. But who can quibble when the end result encompasses one magnificent image after another in William Clothier's splendid 'scope photography and the only music score - by Alex North - that ever did real justice to a Ford picture. For once we actually get away from those endless medleys of sentimental hymn and folk melodies with an astringency of style that matches the serious content of the film.


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