Slow-paced story gets off to a ponderous start with too much talk and too little action, with only some gorgeous scenery for eye comfort. The fault seems to be George Marshall's sluggish direction of a uniformly bland cast.
All of the actors go through their paces in rather standard roles, including JEFF CHANDLER, KEITH ANDES, WARD BOND and LEE MARVIN and for a western that promises some action when the plot thickens, it's a good half-hour before the conflict between cavalry and Indians provides any thrills.
DOROTHY MALONE has the only substantial female role, as a woman no longer in love with her husband. In make-up and hairstyle, she looks and acts more as though she's a woman of modern times rather than frontier days. The romantic triangle (Malone, Chandler, Andes) is a weak one.
The big set piece is the Indian attack that occurs an hour into the film and wipes out most of the command. It's well staged and vigorously mounted for western action. But it comes too late to alter the slow pacing of most of the story which is either Marshall's or the scriptwriter's fault.
A minor quibble: All of the night scenes have a soundstage look to them, in sharp contrast to all the daytime locations.
Summing up: Lackluster western needed the John Ford touch from George Marshall, with Lee Marvin and his Irish accent less than credible in the sort of supporting role Victor McLaglen usually played. Nothing more than average.
All of the actors go through their paces in rather standard roles, including JEFF CHANDLER, KEITH ANDES, WARD BOND and LEE MARVIN and for a western that promises some action when the plot thickens, it's a good half-hour before the conflict between cavalry and Indians provides any thrills.
DOROTHY MALONE has the only substantial female role, as a woman no longer in love with her husband. In make-up and hairstyle, she looks and acts more as though she's a woman of modern times rather than frontier days. The romantic triangle (Malone, Chandler, Andes) is a weak one.
The big set piece is the Indian attack that occurs an hour into the film and wipes out most of the command. It's well staged and vigorously mounted for western action. But it comes too late to alter the slow pacing of most of the story which is either Marshall's or the scriptwriter's fault.
A minor quibble: All of the night scenes have a soundstage look to them, in sharp contrast to all the daytime locations.
Summing up: Lackluster western needed the John Ford touch from George Marshall, with Lee Marvin and his Irish accent less than credible in the sort of supporting role Victor McLaglen usually played. Nothing more than average.