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Rating:  -
historically inacurate. about only thing correct are the names of the 2 chiefs and also they had horses. not much else is correct. they bolted from the reservation area in Oklahoma, near fort reno, not the desert sw?? also contained unneeded silliness with James Stewart's segment as the marshall of dodge city ks.
Rating:  -
This is a different kind of western. A film that was very brave at the time it was made, as it was a pro indian movie. It has the story of a proud race of people who are native indian who lost their lands to the White man and were double crossed on every peace treaty made .It has the story of white people seeing injustice and betrayal of the indian people and treid to do the right thing for the indians.
Against the backdrop of the magnificent desert scenery and a proud race forced to fight to survive and to get justice.
A truly great epic of a western.
Rating:  -
This is John Ford's last Western, and a film in which he tries to make amends for (in some films) his rather shabby treatment of Native Americans. It is not a typical Ford Western, though. Yes, it's filmed in Monumental Valley, and it boasts some of the greatest cinemtography ever in a Ford film. Yet, it seems rambling, even disjointed at times. It is Ford's longest work (clocking in at, for Ford at least, a long 158 minutes), and it feels like it could have used a little editing. There isn't much humour in it, except for the Dodge City episode, which is awkwardly inserted into the middle of the film. It really seems out of place because the rest of the film is very serious with very little comic relief included. But the episode itself is actually one of Ford's funniest scenes EVER. The banter between James Stewart, Burt Kennedy, John Carradine, and Elizabeth Allen is hilarious. The scene was originally cut out of the initial theatrical version, but then later restored for VHS/DVD releases. Ford seems to be trying something new here, but just not getting it right. This film is missing the poetry that is in many of his other Westerns. The film comes across as rather preachy, ponderous, and lumbering (even though the subject matter is definitely important). Tag Gallagher's book on Ford, he states that Ford wanted to cast actual Native Americans in the roles of Montalban, Mineo, and Roland, treating them like a Greek Chorus unable to communicate with the whites. This idea was rejected by the producers of the film. He reportedly didn't care for Alex North's score, either. Ford films always had a more traditional, folk tinged score that was used sparingly throughout his films. North's score underscores almost every scene, here. It is nice, however, to see this film widescreen. Before, it was only available in wretched, pan and scan versions, which absolutely butchered Ford's compositions. Here we get to see the spectacular photography by William Clothier, who shot this film in 70mm. Ford only completed one more feature film after this (the underrated Seven Women), and this ended up being his final Western. It's worth watching, for sure (especially if you're a Ford admirer), but it is not one of his better films.
Rating: -
I always liked this film even though the press reviews and its viewer acceptance were mixed. John Ford uses familiar locations to tell his story. The cast is solid even though Richard Widmark does not have the presence or charisma of John Wayne, Ford's usual leading man. This is a well intentioned film just the same.
To the contrary of critical opinion, I enjoyed the Dodge City sequence with Arthur Kennedy as Doc Holliday and James Stewart as Wyatt Earp. Some say it does not fit the serious and solemn tone of the rest of the film. That is true to some extent, but the juxtaposition of cinematic styles acts to bring attention to the Indian's plight. The outrageous and bawdy nature of the Dodge City sequence shows that the imported eastern notions of a superior and sophisticated transplanted European civilization are not sophisticated at all. They bring chaos rather than harmony to the land on their Westward expansion.
In another scene, Karl Malden's performance as Capt. Oskar Wessels is over the top, yet his foreign accent and the fort he commands stand as a metaphor for the Nazi concentration camps of WWII. Sean McClory as Dr. O'Carberry brings stability and compassion to this awkward scene.
It was good to Patrick Wayne on hand and many of Ford's troupe of actors including Ken Curtis, John Carradine, Danny Borzage, Chuck Hayward, Mae Marsh, Ben Johnson and Harry Carey Jr.
Mike Mazurki's soliloquy to Richard Widmark on the insignificance and effectives of his role as Sr. First Sergeant in the infantry is memorable and touching.
William H. Clothier's cinematography is beautiful leaving one with an impressionistic idea of the Indians' eternal tie to the land.
I read where Ford was not pleases with Alex North's score but perhaps North's score ushered in the deathknell of the American Western as CHEYENNE AUTUMN was certainly one of the last great films of the genre.
Rating: -
I always liked this film even though the press reviews and its viewer acceptance were mixed. John Ford uses familiar locations to tell his story. The cast is solid even though Richard Widmark does not have the presence or charisma of John Wayne, Ford's usual leading man. This is a well intentioned film just the same.
To the contrary of critical opinion, I enjoyed the Dodge City sequence with Arthur Kennedy as Doc Holliday and James Stewart as Wyatt Earp. Some say it does not fit the serious and solemn tone of the rest of the film. That is true to some extent, but the juxtaposition of cinematic styles acts to bring attention to the Indian's plight. The outrageous and bawdy nature of the Dodge City sequence shows that the imported eastern notions of a superior and sophisticated transplanted European civilization are not sophisticated at all. They bring chaos rather than harmony to the land on their Westward expansion.
In another scene, Karl Malden's performance as Capt. Oskar Wessels is over the top, yet his foreign accent and the fort he commands stand as a metaphor for the Nazi concentration camps of WWII. Sean McClory as Dr. O'Carberry brings stability and compassion to this awkward scene.
It was good to Patrick Wayne on hand and many of Ford's troupe of actors including Ken Curtis, John Carradine, Danny Borzage, Chuck Hayward, Mae Marsh, Ben Johnson and Harry Carey Jr.
Mike Mazurki's soliloquy to Richard Widmark on the insignificance and effectives of his role as Sr. First Sergeant in the infantry is memorable and touching.
William H. Clothier's cinematography is beautiful leaving one with an impressionistic idea of the Indians' eternal tie to the land.
I read where Ford was not pleases with Alex North's score but perhaps North's score ushered in the deathknell of the American Western as CHEYENNE AUTUMN was certainly one of the last great films of the genre.
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