Month: August 2023

Today’s quick review: Rio Grande. Lt. Col. Kirby Yorke (John Wayne) of the U.S. Cavalry has been tasked with a difficult mission: hunting down a band of Apaches that has been conducting raids across the Rio Grande. Yorke’s job is complicated when his son Jeff (Claude Jarman, Jr.) is assigned to his command as a new recruit. The boy is followed by his mother Kathleen (Maureen O’Hara), Yorke’s estranged wife, who begs him to release her son from duty.

Rio Grande is a Western war drama about a stern cavalry officer who is reunited with his wife and son. John Wayne stars as Kirby Yorke, whose loyalty to his country has cost him the pleasures of raising a family. The story follows his attempts to balance his duties as a soldier with his duties as a father and a husband, all while conducting a dangerous campaign. Rio Grande is a solid drama with potent themes and a steady story progression.

Rio Grande is at its best when portraying the harsh but rewarding nature of military service. Yorke runs his camp with rigor and efficiency, but he knows when to bend the rules for his men. The burden of command raises a barrier between him and his family, and seeing them try to break through it is one of the highlights of the movie. Rio Grande also paints a stirring picture of the cavalry, with deft horsemanship and a clear sense of camaraderie.

The one failing of Rio Grande is that it lacks the deft touch needed to turn its themes into memorable moments. Its characters are clearly developed, its conflicts are set up well, and its plot progresses smoothly from its inception to its finale. But along the way, there are no true emotional highs. The result is a drama that works reasonably well as a whole, but which is missing the potency of other war movies or romances.

Try Rio Grande when you are in the mood for either a relatively serious Western or a war drama with a personal angle to it. Rio Grande is not quite as masterful as some of its peers, either in terms of the scope of its story or its resonance. But its solid execution and engaging themes make it well worth a watch for those interested. Give it a try if you are a fan of classic Westerns or the details of military life.

For a John Wayne Western in a similar vein, try Hondo. For a darker Western about the cavalry, try Duel at Diablo. For a nautical war drama about the burdens of command, try Master and Commander: The Far Side of the World. For a science fiction story about the relationship between a military officer and his son, try After Earth.

[7.1 out of 10 on IMDB](https://www.imdb.com/title/tt0042895/). I give it a 7.0 for a cleanly executed story and interesting character dynamics.

“I do hope he doesn’t kill us. He’d never get over it.” —Sandra

Today’s quick review: Dakota. Gambler John Devlin (John Wayne) elopes with Sandra Poli (Vera Ralston), the daughter of a railroad tycoon (Hugo Haas), and makes for the Dakota Territory. There the newlyweds hope to invest $20,000 in land that the railroad is about to buy up. But they run into trouble when Jim Bender (Ward Bond), a local businessman, has the same idea, hiring Collins (Mike Mazurki) and his thugs to take the land at a discounted price.

Dakota is a Western with comedy elements starring John Wayne. The story follows the scramble to snatch up stretches of Dakota farmland that are about to be worth a fortune. Dakota tries to offer a little bit of everything, with a classic crime-oriented Western plot, a dash of romance with its heroic couple, and some prominent moment of comedy. However, the various elements work against each other, resulting in a mediocre watch with missed potential.

The two main shortcomings of Dakota are its comedy and its use of its star. As far as humor goes, Dakota consistently swings wide. Its jokes try too hard to be funny, with long setups, obvious punchlines, and haphazard placement within the script. Comic relief characters like Captain Bounce (Walter Brennan), a bumbling riverboat captain, get altogether too much screentime, and their main effect is to undermine the movie’s handful of dramatic moments.

Meanwhile, Dakota does not know what to do with John Wayne. John Devlin is an easygoing but determined man, a gambler with a heroic streak and a loving heart. The problem is that his character is passive. In the early part of the plot, he does very little to stop Collins from stealing his $20,000 in investment money, and this ends up being a precedent. Even at his most competent, John Devlin is a far cry from the tough characters Wayne is known for.

Dakota is a movie whose various parts end up working against each other. Its comedy is bluntly handled, its lighter tone contradicts the dramatic side of its plot, and its hero is too forgiving to be worth rooting for. The movie holds modest value for those in the mood for an old-fashioned Western, and its setup has potential. But ultimately Dakota is outclassed by countless other movies that manage to be funnier, more charming, or more exciting.

For a somewhat more charming John Wayne comedy involving dirty land dealings, try The Fighting Kentuckian. For a Western comedy that has more fun with its premise, try Support Your Local Sheriff! or Support Your Local Gunfighter.

[6.1 out of 10 on IMDB](https://www.imdb.com/title/tt0037627/). I give it a 6.0 for muddled execution of a decent premise.

Today’s quick review: The Searchers. In 1868, Confederate soldier Ethan Edwards (John Wayne) comes home to his brother’s ranch in Texas. But Ethan has only been back a few days when Comanches attack, killing most of his brother’s family and carrying off Lucy (Pippa Scott) and Debbie (Lana Wood). Ethan rides out with Martin Pawley (Jeffrey Hunter), his brother’s adopted son, to hunt down the Comanches who killed his family and rescue his nieces.

The Searchers is a Western drama about the harrowing search for two kidnapped girls in the Old West. John Wayne stars as Ethan Edwards, a hard man whose heart turns to vengeance when his family is attacked. Jeffrery Hunter plays opposite him as Martin Pawley, a young man who still holds out hope of bringing his sisters back alive. Their search takes them across countless miles of terrain with no guarantee they will like what they find at the end.

At the heart of The Searchers is a potent moral drama. As the weeks turn into years, Ethan and Martin lose themselves in the chase, turning their backs on an ordinary life to pursue the minuscule chance of bringing Lucy and Debbie home. Ethan in particular transforms from a gruff but supportive man to one consumed by rage, ready to do terrible things in the name of revenge. His obsession gives the film a dangerous quality to it that serves it well.

The other pillar of The Searchers is a plot with a sweeping scope and unpredictable twists. Ethan and Martin chase faint trails, false leads, and lucky discoveries in pursuit of the Comanche band responsible. Each setback is devastating, costing them months of time and making their objective that much more remote. The Searchers does a skillful job of laying out the harsh reality of their search and what it ultimately costs them in the end.

The Searchers is a strong pick for fans of the serious side of the Western genre. Although there are other movies that dabble in similar themes, there are few that take them as far or handle them as well. The Searchers is a nuanced story of revenge that literally and figuratively covers a lot of ground. Those with the stomach to see bitter characters making hard choices will find the film to be well worth the investment.

For another John Wayne movie about the hunt for a kidnapped family member, try Big Jake. For a different Western about revenge, try Once Upon a Time in the West. For a Western that deals with the aftermath of an Apache kidnapping, try Duel at Diablo. For a literary story about payback, try The Count of Monte Cristo. For a classic drama about two friends’ long journey through the wilderness, try Dersu Uzala.

[7.9 out of 10 on IMDB](https://www.imdb.com/title/tt0049730/). I give it a 7.5 for a powerful tale of revenge.

Today’s quick review: In Old California. Tom Craig (John Wayne), a pharmacist from Boston, makes the journey to Sacramento, California, to set up shop and serve the growing community there. Upon arrival, Craig makes an enemy of Britt Dawson (Albert Dekker), a powerful man in town, but also catches the eye of Lacey Miller (Binnie Barnes), Dawson’s girlfriend. But instead of Lacey, Craig falls for Ellen Sanford (Helen Parrish), a wealthy socialite.

In Old California is a classic Western comedy adventure starring John Wayne. The story follows Tom Craig, a well-mannered and charming druggist, as he carves out a place for himself in the rough world of Gold Rush-era California. In Old California goes far on the back of a likable hero, a generally light tone, and a plot that echoes Western themes without copying them directly. However, the movie misses out on some of the appeal of its competition.

The greatest strength of In Old California is its hero. Tom Craig is a cheerful, unflappable, and unfailingly polite man who brightens the day of everyone he meets. It is refreshing to see him talk his way through rough situations without a trace of dishonesty or self-interest, and the positive effect he has on other people contrasts nicely with Britt Dawson’s status games and thuggish behavior.

Still, Craig can only take In Old California so far. His gentle demeanor prevents the movie from having too much action. It also separates him from the tough, imposing heroes of other Westerns. In Old California makes up for this with a lighter, more optimistic tone and a few prominent comic relief characters. But the script is not as sharp as in a dedicated comedy, and while the plot does a fair job of using Craig, it lacks a clear impetus.

The result is a breezy Western that takes a different tack than most. Fans of the lighter side of the genre will find In Old California to be a fun watch that offers a nice change of pace from the more serious Westerns. But the movie does not have what it takes to excel as a comedy or as an action movie, keeping it from leaving much of a lasting impression.

For a Western comedy that works better with the conventions of the genre, try Support Your Local Sheriff. For a more recent Western with a similar tone, try Maverick. For a more iconic Western starring John Wayne, try Stagecoach.

[6.4 out of 10 on IMDB](https://www.imdb.com/title/tt0034889/). I give it a 6.5 for a likable lead and a pleasant story.

“You can’t have a weak stomach and get rich.” —Sam

Today’s quick review: The Naked Hills. Chasing the promise of easy gold, Tracy Powell (David Wayne) and his friend Bert Killian (Denver Pyle) leave their home in Missouri to go prospecting in California. There Tracy goes down a dark path, briefly partnering with Sam Wilkins (Keenan Wynn) to steal claims from fellow prospectors. As the years pass with no success of his own, Tracy is torn between his dream and the woman he loves (Marcia Henderson).

The Naked Hills is a Western drama about a man who succumbs to the lust for gold. Although he starts out with the best of intentions, Tracy sacrifices friends and family in the vain hope of striking it rich. The Naked Hills features potent subject matter, but the story itself is mediocre. For every moment of genuine drama, there are several more that feel misplaced or abrupt. The result is a winding story that never quite hits the mark.

The Naked Hills is missing the storytelling instincts it needs to get the most out of its premise. The plot is broken up into several segments which cover the different eras of Tracy’s prospecting career. The general beats of the story work well—a parade of misleading successes and crushing setbacks for Tracy—but the rhythm is off. None of the human relationships in the movie have a chance to breathe, and the segment transitions are too sudden.

The Naked Hills holds modest value as a drama about the destructive influence of greed, but it lacks the artistry to have any lasting impact. Those who are interested in its themes may want to give it a short, but it is outclassed by dramas that manage their human element better, as well as Westerns that take better advantage of their setting. Ultimately, most viewers will want to steer clear.

For a more artful drama about the lust for gold, try The Treasure of the Sierra Madre. For a more comedic take on similar subject matter, try The Gold Rush. For a white collar drama about a man seduced by money, try Wall Street.

[5.5 out of 10 on IMDB](https://www.imdb.com/title/tt0049540/). I give it a 6.0 for potent themes and miscalibrated drama.

“Well, there are some things a man just can’t run away from.” —Ringo Kid

Today’s quick review: Stagecoach. Ringo Kid (John Wayne), an escaped convict looking to avenge the murder of his family, hitches a ride on a stagecoach making its way across Arizona. Ringo befriends the passengers, including a woman of ill repute (Claire Trevor), an alcoholic doctor (Thomas Mitchell), and the wife of a cavalry officer (Louise Platt). But with a band of Apaches in the area and no cavalry protection, the trip could prove fatal.

Stagecoach is a classic Western about a perilous stagecoach trip across Arizona. The story unites an ensemble cast, with characters from all walks of life. Left to work out their differences in a cramped coach, the passengers come to rely on one another as their journey grows more dangerous. The film combines this relatively simple premise with likable characters, interesting subplots, and a solid emotional core to make for an engaging watch.

Stagecoach builds a rich story out of ordinary parts. Every passenger on the coach has a reason to be there, whether it’s seeing a husband or simply getting out of a town that doesn’t want them. These reasons keep the journey going even as the trip gets more dangerous, and they lead to some very human personal conflicts. In particular, the budding romance between Ringo and Dallas (Claire Trevor) serves as an emotional backbone for the film.

Apart from its melting pot of characters, Stagecoach handles its storytelling well. There are always a few active plot hooks, ranging from Ringo’s hunt for the man who killed his family to Lucy Mallory’s (Louise Platt) insistence on reaching her husband as soon as possible. This churn of plot threads keeps the story moving at a good pace. Meanwhile, some light humor, a bit of romance, and a bit of climactic action balance the film nicely.

Stagecoach is a finely crafted film that succeeds on the back of strong fundamentals. Fans of the Western genre or classics in general will find it to be a rewarding watch, thanks in large part to its smart choice of characters and conflicts. Viewers looking for pure action may want to look elsewhere. For a darker movie about an ill-fated expedition that encounters an Apache band, try Duel at Diablo.

[7.8 out of 10 on IMDB](https://www.imdb.com/title/tt0031971/). I give it a 7.5 for a rich story and likable characters.

Today’s quick review: The Fighting Kentuckian. In 1819, John Breen (John Wayne), a Kentucky infantryman, falls in love with Fleurette De Marchand (Vera Ralston), the daughter of an exiled French general (Hugo Haas), and follows her to the French settlement of Demopolis, Alabama. With the help of his friend Willie Paine (Oliver Hardy), John tries to save Fleurette from an arranged marriage to Blake Randolph (John Howard), a powerful businessman.

The Fighting Kentuckian is a classic Western romance starring John Wayne. The plot follows John as he fights to win Fleurette’s hand in marriage. To complicate matters, John stumbles onto a plot to steal the land out from under the French settlers. Romantic escapades, intrigue, and a dash of humor follow as John tries to set things right. The Fighting Kentuckian has enjoyable aspects, but taken as a whole, it leaves something to be desired.

Oddly enough, The Fighting Kentuckian has the plot of a crime drama. Stripping away the light tone and the romance, the plot revolves around shaddy dealings in a burgeoning Alabama town. Although clueless at first, John and Willie uncover more details about the scheme and race to stop it. This gives the movie a solid backbone and, when coupled with the buoyant spirit of the movie, makes it a fun and relatively engaging watch.

However, The Fighting Kentuckian is missing a few things to tie it together. The romance between John and Fleurette is sudden even by the standards of the genre, a shallow tale of love at first sight that mainly serves to get the story rolling. The movie can be too fanciful at times, ignoring logic to get its story to work. And while the criminal side of the plot works well, John and Willie are a little too far behind the curve to be effective heroes.

The Fighting Kentuckian is a fine pick when you’re in the mood for a light, heroic story with some unique trappings. The movie does not excel in some of the areas where it should, and its peculiar blend of breezy romance and crime-tinged Western adventure will not appeal to everyone. But in spite of its oddities, it will appeal to fans of John Wayne and viewers who appreciate the lighter classics.

For a better-developed romantic Western starring John Wayne, try Angel and the Badman or Hondo. For a more serious Western with a crime-oriented plot, try Vera Cruz.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt0041361/). I give it the same for a pleasant story held back by a few quirks.

“Well, now, wouldn’t you say that was a little coincidental, Billy?” —John Elder

Today’s quick review: The Sons of Katie Elder. After the death of Katie Elder, her sons John (John Wayne), Tom (Dean Martin), Matt (Earl Holliman), and Bud (Michael Anderson, Jr.) return to the town of Clearwater, Texas, to attend her funeral. There they tangle with Morgan Hastings (James Gregory), the new owner of the Elders’ ranch, as well as Curley (George Kennedy), Morgan’s hired gun, and Ben (Jeremy Slate), an over-eager sheriff’s deputy.

The Sons of Katie Elder is a classic Western about four brothers who come home after a long absence and try to find out what happened to their family. Left with no inheritance and a bad reputation in town, the Elder brothers stir up trouble by digging into the unsolved murder of their father and the loss of the family ranch. The Sons of Katie Elder spins this premise into a capable drama with believable characters and varied sources of conflict.

The Sons of Katie Elder takes an indirect approach compared to other Westerns. It shares the slow build-up to violence seen in similar stories, but the inciting incidents happened in the brothers’ absence. John and the others are left to seek answers months after the fact, and their prying does nothing to endear them with a town that already distrusts them. This makes for a potent situation that only gets more perilous as the story unfolds.

The other strength of the movie is the brothers themselves. The brothers are boisterous and far from model citizens, but their loyalty to each other and determination to set things right make them well worth following. No single brother fits the heroic mold, but they complement each other well, with John acting to keep his impulsive younger brothers in check. Their differing personalities add an element of unpredictability to the story.

All in all, The Sons of Katie Elder hits a sweet spot with its premise, its characters, and the way its story plays out. The movie is missing some of the subtler touches seen in other dramas, such as deeply personal character development or an artfully orchestrated conclusion. But what it lacks in nuance, it makes up for with varied characters, interesting conflicts, and a story that moves of its own accord. Western fans should give it a shot.

For a John Wayne movie about a gunfighter returning home to help his family, try Big Jake. For a more adventurous Western about four men who are dedicated to justice, try Silverado. For a modern crime drama with a similar premise, try Four Brothers.

[7.2 out of 10 on IMDB](https://www.imdb.com/title/tt0059740/). I give it a 7.0 for an intricate story and dynamic characters.

“Well, alright, but if I’m going to be holy, I gotta get some fun out of it.” —Quirt Evans

Today’s quick review: Angel and the Badman. When Quirt Evans (John Wayne), an infamous outlaw, is injured in a gunfight, Penelope Worth (Gail Russell), a kind young woman from a Quaker family, nurses him back to health. Over the course of his convalescence, Quirt and Penelope fall in love, and Quirt considers hanging up his gun belt for good. But his newfound pacifism is put to the test when his old rival Laredo Stevens (Bruce Cabot) comes for him.

Angel and the Badman is a classic Western romance about an outlaw who puts his violent way of life behind him for the sake of a kind-hearted woman. The movie follows Quirt and Penelope as they fall in love, search for common ground, and deal with the consequences of Quirt’s checkered past. Angel and the Badman strikes a nice balance with its characters and its story, making it a pleasant watch that explores some interesting moral themes.

The core of the movie is Quirt being tempted away from his life of violence and into a way of living that is more wholesome. His development happens in stages, beginning with simple gratitude for the family that saved his life and growing into a genuine appreciation for them as people. For all of his faults, Quirt is never shown to be beyond redemption, and he has a noble streak that only increases as he spends more time with Penelope.

For her part, Penelope is a kind but sheltered young woman who introduces Quirt to a new way of thinking. Her love for Quirt starts off as infatuation, but as Quirt begins to reciprocate, it grows into something more enduring. Gail Russell and John Wayne are well paired, and they both do a skillful job of conveying their affection for one another. The relationship between the two is not perfect, but it’s certainly enough to build a story around.

Angel and the Badman will appeal to fans of the classics, in particular the idealistic side of the Western genre. Its action is more limited than other Westerns, and it spends most of its efforts on moral themes and romance. This can make it a shaky pick for fans looking for bigger thrills or more lurid drama. But for those interested in what it has to offer, Angel and the Badman is a charming movie that accomplishes what it sets out to do.

For John Wayne in a similar style of romance, try Hondo. For a crime comedy about a family of criminals trying to be good, try The Family.

[6.9 out of 10 on IMDB](https://www.imdb.com/title/tt0039152/). I give it a 7.0 for strong leads and a pleasant story.

Today’s quick review: Hondo. Hondo Lane (John Wayne), a dispatch rider for the U.S. Cavalry, is carrying an important message: After the United States broke its treaty with the Apaches, Chief Vittorio (Michael Pate) and his warriors are on the offensive. On his way to alert the Cavalry, Lane accepts the hospitality of Angie Lowe (Geraldine Page), a woman living on a ranch with her son Johnny (Lee Aaker) while waiting for her husband to return.

Hondo is a Western romantic drama about a cavalry rider who becomes involved with a woman living on the edge of Apache territory. During his brief stopover at Lowe’s ranch, Lane connects with Angie, takes Johnny under his wing, and urges them to leave the area before Chief Vittorio arrives. The movie features a capable lead and some well-managed drama, resulting in an interesting story that never feels too formulaic.

Hondo’s best feature is the way it manages its plot threads. The romantic side of the story is enjoyable but relatively static; Lane and Lowe are too honest for much to come between them. But the movie throws in some nice wrinkles with the question of Angie’s missing husband and Vittorio’s raids on the surrounding area. These plot threads tangle with each other in fascinating ways, culminating in important changes in its characters’ lives.

How much you get out of Hondo will depend on taste. The plot is not as rigidly structured or as immediately compelling as other movies, but it shows its wisdom as the story plays out. The romance is old-fashioned, a tale of blooming love between two responsible people who want what’s best for each other. The clash with the Apaches has nice tension and a couple of moral quandaries, but it lacks the intense, personal conflict seen in other Westerns.

As such, Hondo has quite a bit to offer fans of classic Westerns, but its story may not click with fans of the grittier, more ambiguous side of the genre. For another classic Western about a traveler who changes the lives of a family of settlers, try Shane. For an even darker story about a conflict with a band of Apaches, try Duel at Diablo. For a Western romance with some similar elements, try The Proud Rebel.

[7.1 out of 10 on IMDB](https://www.imdb.com/title/tt0045883/). I give it a 7.0 for a simple premise that unfolds in interesting ways.