Month: September 2023

“Every man should have a little taste of power before he’s through.” —Nathan Burdette

Today’s quick review: Rio Bravo. When Sheriff John T. Chance (John Wayne) arrests Joe Burdette (Claude Akins) for murder, he earns the wrath of Nathan (John Russell), Joe’s powerful brother. Now Chance must prevent Nathan’s hired guns from breaking Joe out of jail, with only his deputies Dude (Dean Martin) and Stumpy (Walter Brennan) for help. Meanwhile, Feathers (Angie Dickinson), a troublesome gambler, arrives in town and butts heads with Chance.

Rio Bravo is a classic Western drama starring John Wayne. Outnumbered and outgunned, the sheriff and deputies of a remote Texas town have to guard a well-connected prisoner until the marshal arrives. Rio Bravo does a skillful job of setting up its characters and its conflicts. From the cold-blooded murder that kicks off the plot to the explosive shootout that ends it, Rio Bravo is a carefully orchestrated story with plenty to offer.

Much of Rio Bravo’s depth comes from the way its characters interact. Although Chance and his deputies are nominally on the same side, they have their own failings that cause them trouble throughout the film. Chance is a proud and protective man who refuses offers of help. Dude is a recoverng drunk who still doesn’t trust his gun hand. And while Stumpy mainly serves as comic relief, he provides Chance and Dude with some much-needed support.

The way the plot unfolds has everything to do with its characters and their choices. Chance’s refusal to let Joe go puts him in the crosshairs, while Dude’s ongoing battle with the bottle puts him in danger on more than one occasion. Meanwhile, Colorado Ryan (Ricky Nelson), an outsider with a quick trigger finger, weights the risks of getting involved. Rio Bravo’s setup is fairly generic, but the complicated way it plays out sets the film apart.

Rio Bravo is a strong pick for fans of the Western genre. It blends familiar plot threads and character types with careful presentation and a story that take on a life of its own. The result is one of the better iterations on a particular type of Western story: that of justice enduring against long odds. Steer clear if you are looking for grey morality or prefer a more modern style of storytelling and action.

For a somewhat more comedic John Wayne Western with a similar story, try El Dorado. For another Western drama about law enforcement in a dangerous town, try Tombstone, Hour of the Gun, or Gunfight at the O.K. Corral.

[8.0 out of 10 on IMDB](https://www.imdb.com/title/tt0053221/). I give it a 7.5 for solid character work and effective tension throughout.

Today’s quick review: Fort Apache. Ordered to take command of Fort Apache from Captain Kirby York (John Wayne), Lieutenant Colonel Owen Thursday (Henry Fonda) seeks to revive his flagging career by rounding up a band of Apaches that have escaped their reservation. Meanwhile, Lieutenant Michael O’Rourke (John Agar), a young officer, pursues a relationship with Thursday’s daughter Philadelphia (Shirley Temple).

Fort Apache is a classic Western war drama starring Henry Fonda and John Wayne. The film revolves around the question of what to do with Chief Cochise (Miguel Inclan) and his Apaches, who escaped across the Rio Grande after their shabby treatment at the hands of the government. Where York urges fair treatment and caution, Thursday orders a decisive show of force. The clash between the two helps focus the film’s broader look at life in the cavalry.

Fort Apache manages to keep track of several rewarding plot threads without letting any of them get lost in the shuffle. The youthful romance between Michael and Philadelphia, the mundane task of training the new troopers, and the social lives of the officers and their wives all contribute to a multifaceted story. Fort Apache mixes the clean storytelling of fiction with an insight into human nature that gives it the right amount of reality.

The result is a film with a lot to offer. Fort Apache highlights the nuances of command, the moral dilemmas of war, and both the noble and the inhuman sides of life in the military. Fans of the classics will find that Fort Apache is a rare treat: a film whose plot and themes complement each other to form a satisfying whole. Viewers who are just looking for raw action or a Western romp will find Fort Apache too thoughtful for their tastes.

For a loose sequel starring John Wayne, check out Rio Grande. For another war drama that explores questions of honor and command, try The Bridge on the River Kwai or A Bridge Too Far. For another John Wayne cavalry movie, check out The Horse Soldiers.

[7.5 out of 10 on IMDB](https://www.imdb.com/title/tt0040369/). I give it the same for rich drama and a broadly talented cast.

Today’s quick review: McLintock!. After a lifetime of enterprise, George Washington McLintock (John Wayne) runs a thriving business, owns a sizable portion of a town, and has earned the respect of his friends and neighbors. The only wrinkle is his estranged wife Katie (Maureen O’Hara), who has come home from the East to convince G.W. to let their daughter Becky (Stefanie Powers) move away with her.

McLintock! is a Western romantic comedy starring John Wayne and Maureen O’Hara. Two years after their last fight, G.W. and Katie butt heads again over whether their daughter should live in the rowdy, unpredictable West or the high society of the East. McLintock! is a comedy with high spirits, a dash of romance, and plenty of good-natured brawling. Its lively characters and optimism make it a fun watch, but its virtues will not appeal to everyone.

McLintock! builds on a rather unique foundation: G.W. and his relationship with the town. He is a man of many talents: a drinker, a brawler, an honest businessman, and a loyal ally. His wisdom keeps the wilder side of the town in check, while his good humor keeps any conflict from spiraling out of control. The only person who can match him is Katie, a proud and stubborn woman who is every bit as forceful as he is.

McLintock! spins these character dynamics into an enjoyable story. G.W. and Katie play out their argument over the course of several days, coming closer to the point where they will either have to patch things up or split for good. Their relationship is complemented by a more youthful romance between Becky and Devlin Warren (Patrick Wayne), G.W.’s latest hire. The result is an unabashedly cheerful comedy in the classic mold.

Still, McLintock! has a few points of friction. Chief among these is audience buy-in. Very little of the story works without the viewer liking G.W. and rooting for him at least most of the time. Anyone who finds him too fanciful a character or simply dislikes his personality will have a rough go of it. Likewise, McLintock! is a little too exaggerated in places. The story works when the audience is invested but shows holes when they are not.

How much you get out of McLintock! will depend on your taste in comedy. Fans of the exuberant style of the classics and tongue-in-cheek domestic strife will have plenty of fun. Viewers looking for something a little more grounded or story-focused will find that the movie comes on too strong. Check out McLintock! if you are interested in what it has to offer. Otherwise, approach with caution.

For a subtler take on a similar romantic conflict starring John Wayne and Maureen O’Hara, check out The Quiet Man. For a more action-oriented Western with the same stars, try Big Jake or Rio Grande.

[7.2 out of 10 on IMDB](https://www.imdb.com/title/tt0057298/). I give it a 6.5 to 7.0 for spirit and charm.

“A time to live and a place to die. That’s all any man gets, more or less.” —Parson

Today’s quick review: The Alamo. In 1836, General Sam Houston (Richard Boone) orders Colonel Will Travis (Laurence Harvey) to fortify the mission at San Antonio, Texas, and delay the troops of Generalissimo Santa Anna, buying precious time for Houston to rally his men. Travis reluctantly turns to Colonel Jim Bowie (Richard Widmark), a wild adventurer, and Colonel Davy Crockett (John Wayne), a soldier from Tennessee, to help him make his stand.

The Alamo is a historical Western war drama that recounts the Siege of the Alamo. Outnumbered and surrounded, two hundred soldiers of the Republic of Texas hold off the Mexican army to give General Houston the time he needs to turn the tide of the war. The Alamo follows the three leaders of the Texas forces—Travis, Bowie, and Crockett—as they harry the Mexican troops and attempt to hold out for as long as possible.

The highlight of The Alamo is its character dynamics. The disciplined and efficient Will Travis, the passionate and stubborn Jim Bowie, and the canny and charismatic Davy Crockett all have a hand in the defense of the mission. Seeing them butt heads, band together, and lead their men onward in the face of certain death gives the movie its heroic spirit. This is matched by the colorful personalities of their troops, a crude but enthusiastic lot.

The Alamo also earns points for the way it portrays the logistics of the battle. The relative sizes of the armies, the key factors in the defense, and the time table before Santa Anna’s main forces arrive are never in question. The subject matter is naturally dramatic, and there are enough intermediate objectives to keep the action coming from start to finish.

As far as weaknesses go, The Alamo suffers from slow pacing and a surfeit of detail. The movie takes its time introducing each faction of troops. While the time spent with the soldiers helps give meaning to the fighting, it also keeps the movie from establishing the visceral tension seen in other war films. The Alamo is also prone to sentimentality, romanticizing its characters to a degree that some viewers will find excessive.

Give The Alamo a shot when you are in the mood for an adventurous war movie in the classic mold. Its naturally compelling subject matter and emphasis on character makes it a rewarding watch, while the battle itself offers plenty of action. However, its lengthy run time and decompressed story keep it from having the immediate impact it could have. Although The Alamo is not a must-see, the right viewer will enjoy it.

For another 1800s war drama starring John Wayne, check out The Horse Soldiers. For another historical war drama about a small force holding out against a much larger one, try Zulu. For a gory, stylized action movie about another last stand, try 300.

[6.8 out of 10 on IMDB](https://www.imdb.com/title/tt0053580/). I give it a 7.0 for a broad scope and interesting characters tempered by slow pacing.

Today’s quick review: Rio Lobo. After the Civil War, Colonel Cord McNally (John Wayne) rides to Rio Lobo, Texas, in search of two officers who betrayed the Union. There he agrees to help Captain Pierre Cardona (Jorge Rivero), his former Confederate rival, and Shasta Delaney (Jennifer O’Neill), a snake oil saleswoman, free Rio Lobo from Tom Hendricks (Mike Henry), the town’s corrupt sheriff, and Ketcham (Victor French), his wealthy backer.

Rio Lobo is a Western about a pair of Civil War veterans who set out to restore justice to a small Texas town. The movie offers only a slight variation on the classic Western formula. John Wayne’s character is drawn into Rio Lobo by reports of the traitors he is hunting, but instead he finds a town infested with corruption. What follows is an escalating conflict between McNally’s allies and Ketcham’s, a simple serving of Old West action.

Rio Lobo gets the basics of the genre right, but it stumbles in a few places. The most notable aspect of the characters is the unlikely friendship between McNally and Cardona, but otherwise, neither character is exceptional. McNally is a generic hero who doesn’t capitalize on John Wayne’s talents, while Cardona never makes a strong impression as McNally’s younger ally.

Likewise, the plot covers all the ground it needs to, but not necessarily well. The story buries the lede, spending too long on preliminaries before working its way around to the main plot. The large supporting cast means that many of the movie’s subplots do not get a full treatment, while rough patches in the dialogue keep the scenes from flowing as well as they could.

None of this detracts from the core appeal of the movie, which is classic Western action. From the train heist at the beginning of the movie to the shootouts peppered throughout, Rio Lobo goes out of its way to make sure it has plenty of spectacle. While the fights are not as impactful as the best the genre has to offer, they are enough to flesh out the movie. Combined with a serviceable story, they make the movie a reasonable watch.

How much you get out of Rio Lobo will depend on how well you like the Western formula. It makes enough minor mistakes that discerning viewers will find it tepid, with a story that takes a while to get going and characters that never truly leave a mark. But fans of the genre for its own sake, especially those looking for some action, will find that Rio Lobo does a fair job. Give it a shot unless you are looking for something groundbreaking.

For a more polished Western in a similar vein starring John Wayne, try Big Jake. For a more dramatic Western about cleaning up a rural town, try Tombstone.

[6.8 out of 10 on IMDB](https://www.imdb.com/title/tt0066301/). I give it a 6.5 for enjoyable action and some missed opportunities.

“This is the West, sir. When the legend becomes fact, print the legend.” —Maxwell Scott

Today’s quick review: The Man Who Shot Liberty Valance. Ransom Stoddard (James Stewart), a lawyer from back east, travels to a frontier town to set up a practice. There he finds a lawless place terrorized by Liberty Valance (Lee Marvin), a violent robber who takes what he wants. Against the advice of Tom Doniphon (John Wayne), Ransom takes a stand against Valance. In doing so, he catches the eye of Tom’s girlfriend Hallie (Vera Miles).

The Man Who Shot Liberty Valance is a classic Western drama about one man’s attempt to bring law and order to a remote Western town. James Stewart and John Wayne co-star as two men with opposite temperaments who each have their own plans for the future of the town. Ransom’s ideals of democracy and justice clash with Tom’s belief in using force. This creates an unstable situation that only gets worse as Liberty escalates his crimes.

The Man Who Shot Liberty Valance is a rare Western that delves into the underlying ideals of the American government. Ransom’s passion for civics goes beyond the general themes seen in other Westerns. Instead, it takes on concrete forms: teaching the residents of the town to read and write, working at the local newspaper, and safeguarding the town’s electoral process against Liberty and his backers.

Ransom’s powerful convictions clash with the harsh reality of the situation. Liberty, unconstrained by law or morality, can tear down Ransom’s efforts on a whim, simply by exerting the kind of force that Ransom is loathe to use himself. Faced with the prospect of losing everything he has built, Ransom must decide whether to stick to his faith in the rule of law or adopt the violent but effective methods that Tom recommends.

All of this lays the groundwork for a Western of unusual depth. The moral and romantic clashes between Ransom and Tom, the colorful characters of the town, and the question of how to handle Liberty all give the film its own identity. The Man Who Shot Liberty Valance takes the classic Western themes of justice, violence, and the taming of the wilderness and weaves them into a bittersweet story that complements the rest of the genre quite nicely.

For a masterful Western with an even more iconic villain, try The Good, the Bad and the Ugly. For a classic legal drama that goes even deeper into civic issues, try 12 Angry Men. For a more adventurous Western about bringing law and order to the West, try Tombstone, Hour of the Gun, or Hang ‘Em High.

[8.1 out of 10 on IMDB](https://www.imdb.com/title/tt0056217/). I give it a 7.5 for a layered conflict and subtle character work.

Today’s quick review: War of the Wildcats. Catherine Allen (Martha Scott), a sheltered schoolteacher, sets out to see the world and falls in love with Jim Gardner (Albert Dekker), an Oklahoma oil tycoon who promises her everything she could ever want. But Daniel Somers (John Wayne), an honest cowboy, derails Gardner’s plans by undermining a crucial land deal and showing Catherine something that means more than money.

War of the Wildcats is a Western adventure about the oil boom in the early 20th century. An upright cowboy battles a crooked oilman for a valuable oil field and the heart of a fine woman. War of the Wildcats follows their rivalry as it escalates from a few harsh words to an oil rush that embroils the entire town. War of the Wildcats goes far on the back of its story and its likable lead, but it is held back some by its loose plot work.

Much of the movie’s charm comes from Daniel Somers and the way he deals with tricky situations. Daniel uses his wits to defuse trouble when possible, but when he is out of options, he never backs down from a challenge. His early indifference to Catherine and Jim, his resourcefulness when it comes to the oil field, and his determination to support the town even when everything looks hopeless all make Daniel a hero worth following.

Still, War of the Wildcats is not graceful about setting up its conflict. The early skirmishes between Daniel and Jim lack direction, and Daniel makes for a passive hero until he is backed into a corner. The part of the story that is most unique—a race to claim a new oil field—only gets going late in the movie. And while the romance with Catherine works well enough, it is not as well-developed or poetic as other Western romances.

War of the Wildcats makes a fine pick for anyone in the mood for an enterprising adventure. The plot, characters, and overall execution of the movie do not stand out, but they do make for an enjoyable story that balances lighter humor with action, drama, and romance. Give War of the Wildcats a shot if you are a fan of John Wayne or the kinds of small-town conflict seen in Westerns. Steer clear if you want something groundbreaking.

For a more upbeat Western romantic comedy starring John Wayne, try The Fighting Kentuckian. For a darker drama about the early oil business, try There Will Be Blood.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt0036038/). I give it the same for a decent adventure.

Today’s quick review: Three Faces West. Dr. Karl Braun (Charles Coburn), a refugee from Vienna, and his daughter Leni (Sigrid Gurie) relocate to a small North Dakota town in desperate need of medical help. There John Phillips (John Wayne), the leader of the town, tries to convince them to stay in spite of the dust storms and modest living conditions. Meanwhile, John struggles to keep the town’s farmers going in the face of drought and erosion.

Three Faces West is a romantic drama set in the Dust Bowl in the 1930s. John Wayne stars as John Phillips, a hard-working man trying to keep a farming community alive through environmental collapse. The movie follows his budding relationship with Leni, the strong-willed daughter of an Austrian doctor, and the farmers’ increasingly desperate attempts to keep their crops alive. In spite of this setup, Three Faces West delivers little drama of note.

Where the movie shines is in capturing the plight of Dust Bowl farmers. The farmers are caught between their stubborn pride and the intractable reality of the land, left hoping for a miracle rain storm to save their crops. Their struggles serve to highlight an important period in American history. The movie also touches on the rise of Nazi Germany through Dr. Braun and his daughter, although their refugee status only comes up sporadically.

Three Faces West does a better job setting up conflicts than it does resolving them. Every dramatic arc in the movie ends in one brief, anticlimactic moment, whether that’s an abrupt change of heart, a convenient revelation, or a fight that is over before it has begun. The scaffolding setting up for these moments works well enough, and once they are done, the movie continues on its way, but they rob Three Faces West of much of its satisfaction.

The result is a movie with fine dramatic ingredients, but without the wherewithal to use them correctly. Austrian refugees forced to adapt to life in the rural West, farmers caught between a rock and a hard place, and the unlikely love between John and Leni are the makings of a compelling story. But Three Faces West never stitches them into a cohesive whole, and its events never build towards a larger finale. Approach with caution.

For a lighter John Wayne romance, try The Fighting Kentuckian. For a drama starring John Wayne as a man holding a rural community together, try Dark Command.

[6.2 out of 10 on IMDB](https://www.imdb.com/title/tt0033159/). I give it a 6.5 for unique subject matter and a mediocre plot.

Today’s quick review: Red River. In 1851, Thomas Dunson (John Wayne) and Matthew Garth (Montgomery Clift) break off of a wagon train heading West to start their own cattle herd in the rich, unsettled land of Texas. Fifteen years later, they are the owners of the largest herd in the territory. But to cash in on their cattle, they have to transport them across a thousand miles of inhospitable terrain to Missouri.

Red River is a Western drama about a trailblazing cattle drive. John Wayne stars as Thomas Dunson, a cattle rancher who pushes himself and his men to the brink to get their herd to market. Montgomery Clift plays opposite him as Matthew Garth, Dunson’s protege and voice of reason on the long journey to Missouri. Red River is a Western of unusual scope, covering a vast undertaking takes its toll on Dunson, his men, and his relationship with Garth.

Red River uses its premise to good effect. Out of money and with no way to sell the cattle nearby, Dunson gambles everything on a journey that could be impossible. This fuels his desperation to see the journey through to the end, which alienates his men and jeopardizes the entire endeavor. Red River has a knack for ratcheting up the tension between Dunson and his men without painting either as irrevocably wrong.

That tension, coupled with Garth’s moderating influence, is what drives the film. The cattle drive is never far from disaster, and every incident along the way adjusts the balance of power between Dunson and his men. Meanwhile, Dunson’s obsession threatens to destroy a years-long friendship with Garth, who is forced to choose between the man he looks up to and the success of the drive. Red River offers plenty of drama in just the right places.

Red River manages to be a compelling tale about a bold undertaking, one that highlights the high cost of pioneer life. It does not have the easy rhythm of more formulaic Westerns, but it taps into richer character drama and a more meaningful plot. Anyone with a taste for the classics should give it a shot, as should any fans of John Wayne or dangerous journeys. Steer clear if you’re looking for a cleaner conflict or a more upbeat adventure.

For another John Wayne Western about a man who becomes obsessed over the course of a long journey, try The Searchers. For a more intimate tale of greed and corruption, try The Treasure of the Sierra Madre.

[7.8 out of 10 on IMDB](https://www.imdb.com/title/tt0040724/). I give it a 7.5 for an expansive plot, compelling characters, and a high degree of craftsmanship.

“Well, if you ain’t the contrariest critter I ever seen.” —Doc Grunch

Today’s quick review: Dark Command. In the years leading up to the Civil War, Bob Seton (John Wayne), a cowboy from Texas, settles in Lawrence, Kansas, and beats Will Cantrell (Walter Pidgeon), the local schoolteacher, in the election for town marshal. Bob uses his authority to keep order in the town, and he gradually begins to win over Mary McCloud (Claire Trevor), the daughter of a Southern banker. Meanwhile, Will descends into a life of crime.

Dark Command is a Western drama with romantic elements. John Wayne stars as Bob Seton, an honest man with the bravery to court Mary McCloud and keep the town of Lawrence from descending into mob violence. Dark Command charts the shifting fortunes of Bob, Mary, and Will as war breaks out and tensions flare in the border territory of Kansas. This setup has enough variety to carry the movie in spite of a few minor flaws.

Dark Command differs from other Westerns in the way it approaches its conflict. The individual elements are all familiar—an outsider sheriff, an outlaw band, and a trigger-happy frontier town—but the plot centers around the choices of its characters rather than flashy shootouts. Cantrell’s fall from grace, the stop-and-go relationship between Mary and Bob, and the simmering tensions of the Civil War are all potent drivers of the story.

Although Dark Command is capably executed, it does not excel. Bob, Will, and Mary are all satisfying characters who fit the needs of the story, but none of them are outstanding or memorable. The story taps into the broader conflicts going on in the country at the time, but there are no brilliant twists to set it apart. And while the final battle is suitably climactic, viewers expecting the classic slate of Western gunfights will be disappointed.

Give Dark Command a shot if you are interested in a dramatic conflict that retains its sense of humanity. Dark Command takes the standard components of the Western genre and builds something different with them. It is not different enough to appeal to critics of the genre, and its caliber of execution cannot match the best the genre has to offer. But imperfections aside, Dark Command is a capable story with plenty to offer.

For a much more dramatic classic set during the Civil War, try Gone with the Wind. For a lighter movie about a drifter who takes over law enforcement in an embattled frontier town, check out Support Your Local Sheriff!. For a Western with a similar conflict that plays out in a more typical style, try Shane.

[6.8 out of 10 on IMDB](https://www.imdb.com/title/tt0032383/). I give it a 6.5 to 7.0 for well-handled rural drama.