Executive producers: John Ford, Merian C. Cooper. An Argosy Pictures Production, released through RKO-Radio Pictures.
Copyright 26 July 1949 by Argosy Pictures Corp. New York opening at the Capitol: 17 November 1949. U.S. release: 22 October 1949. U.K. release: 8 May 1950. Australian release: 25 May 1950. 9,514 feet. 105 minutes.
SYNOPSIS: Cavalry captain enters his last week of service before retirement. Encouraged by Custer's defeat, the various Indian tribes join together to fight their common enemy: the white man.
NOTES: Hollywood's most prestigious award went to Winton C. Hoch (only) for Best Color Cinematography of 1949, defeating The Barkleys of Broadway, Jolson Sings Again, Little Women, and Sand. Locations in Monument Valley, Utah. Shooting commenced early November 1948, winding up early December 1948.
COMMENT: A terrific film - except for one thing: the unconvincing slapstick involving Victor McLaglen. This seems pretty artificial when it starts (even though it does serve a useful purpose in providing necessary background information), but gets progressively less bearable until culminating in a ridiculous brawl. Fortunately, aside from the climactic all-in, these contrived scenes fail to spoil the picture as a whole. They could in fact easily be eliminated (though it would mean the loss of Francis Ford's part).
Otherwise, script, locations, action and acting are absolutely perfect. Wayne, in a character role, gives the best performance of his career. With the exception of the hammy McLaglen, he's given solid support too, with memorable cameos from Tom Tyler as an injured corporal, Rudy Bowman as the dying Trooper Smith, and Chief John Big Tree as the conciliatory Pony That Walks. Amongst the principals, John Agar (Mr Shirley Temple at the time) is adequate enough, Ben Johnson is better, whilst Mildred Natwick is outstanding. But I thought the most winning portrayal came from the beautiful, talented but much under-rated Joanne Dru.
Although he had worked with cinematographer Hoch on his immediately previous Three Godfathers, producer-director Ford was unhappy with the amount of time Hoch (a technical perfectionist) took to light his locations whilst cast and the rest of the crew broiled in the desert sun. A showdown came when Ford ordered Hoch to continue shooting during a thunderstorm. Hoch filed an official complaint with his union, alleging that the likely sub-standard photographic quality of the shots would damage his reputation. To Hoch's amazement, the executive board of the American Cinematographers Society sided with Ford, saying the director was within his rights to insist that photography be attempted even though lighting and other conditions may have been unfavorable.
Hoch protested vehemently and even canvassed the option of tendering his resignation, when he was hit with a second surprise. His photography captured the Society's award for the best color work of the quarter and subsequently went on to win America's most prestigious award for Best Color Photography for 1949. The thunderstorm sequence was singled out for praise. Belatedly realizing that outstanding photography does not result from mere technical perfection but from an artistic creativity that on occasion involves the taking of risks and bending of rules, Hoch thanked Ford profusely for forcing his hand and expressed the desire to work with the director again. Ford took Hoch at his word, assigning him to The Quiet Man (1952), for which Hoch won yet another award from The Academy of Motion Picture Arts and Sciences!
SYNOPSIS: Cavalry captain enters his last week of service before retirement. Encouraged by Custer's defeat, the various Indian tribes join together to fight their common enemy: the white man.
NOTES: Hollywood's most prestigious award went to Winton C. Hoch (only) for Best Color Cinematography of 1949, defeating The Barkleys of Broadway, Jolson Sings Again, Little Women, and Sand. Locations in Monument Valley, Utah. Shooting commenced early November 1948, winding up early December 1948.
COMMENT: A terrific film - except for one thing: the unconvincing slapstick involving Victor McLaglen. This seems pretty artificial when it starts (even though it does serve a useful purpose in providing necessary background information), but gets progressively less bearable until culminating in a ridiculous brawl. Fortunately, aside from the climactic all-in, these contrived scenes fail to spoil the picture as a whole. They could in fact easily be eliminated (though it would mean the loss of Francis Ford's part).
Otherwise, script, locations, action and acting are absolutely perfect. Wayne, in a character role, gives the best performance of his career. With the exception of the hammy McLaglen, he's given solid support too, with memorable cameos from Tom Tyler as an injured corporal, Rudy Bowman as the dying Trooper Smith, and Chief John Big Tree as the conciliatory Pony That Walks. Amongst the principals, John Agar (Mr Shirley Temple at the time) is adequate enough, Ben Johnson is better, whilst Mildred Natwick is outstanding. But I thought the most winning portrayal came from the beautiful, talented but much under-rated Joanne Dru.
Although he had worked with cinematographer Hoch on his immediately previous Three Godfathers, producer-director Ford was unhappy with the amount of time Hoch (a technical perfectionist) took to light his locations whilst cast and the rest of the crew broiled in the desert sun. A showdown came when Ford ordered Hoch to continue shooting during a thunderstorm. Hoch filed an official complaint with his union, alleging that the likely sub-standard photographic quality of the shots would damage his reputation. To Hoch's amazement, the executive board of the American Cinematographers Society sided with Ford, saying the director was within his rights to insist that photography be attempted even though lighting and other conditions may have been unfavorable.
Hoch protested vehemently and even canvassed the option of tendering his resignation, when he was hit with a second surprise. His photography captured the Society's award for the best color work of the quarter and subsequently went on to win America's most prestigious award for Best Color Photography for 1949. The thunderstorm sequence was singled out for praise. Belatedly realizing that outstanding photography does not result from mere technical perfection but from an artistic creativity that on occasion involves the taking of risks and bending of rules, Hoch thanked Ford profusely for forcing his hand and expressed the desire to work with the director again. Ford took Hoch at his word, assigning him to The Quiet Man (1952), for which Hoch won yet another award from The Academy of Motion Picture Arts and Sciences!