Der Teufelshauptmann

Anyone who thinks John Wayne can't act should see this movie and eat crow. A young man then, he played a cavalry officer on the verge of retirement. Watch his eyes (the sign of a great actor). It's a wonder he wasn't even nominated for the Academy Award for this role, which few in Hollywood could pull off convincingly.

It's also a John Wayne western the woman in your life will probably like. Wayne talks tenderly at the grave of his wife, and even has a moment of sucking back weeping when his men show their fondness for him.

This bittersweet, elegaic film about a retiring officer on his last mission doesn't have lots of action in it (Ford seems to have thrown in a fistfight with McLaglin just because that actor had little to do, and though it's corny, it has a wonderful beginning).

Apart from Wayne, the reason to watch this is the cinematography. Monument valley, host to myriad westerns, never looked better. They even captured a marvelous thunderstorm in the background, in these days before special effects (the cinematographer, who did snatch an Oscar, originally protested the work, but Ford made him film the scene and they ended up with one of the most striking natural scenes ever).

For years people didn't think Wayne could act. Some, like me, grew up on his later, post-"True Grit" movies, when he did tend to walk through his parts, more icon than actor. He didn't have great finesse with his lines (neither does a fine actor of today, Harrison Ford), but his roles rarely called for the nicety of a Jeremy Irons. In his better movies, Wayne proves he's more than just a movie star. This is his finest hour, and may be John Ford's.

The second of John Ford's cavalry trilogy that deals with the life of the professional soldier is the only one that was photographed in color. Lucky are we, the cinema fans two generations away.

She Wore A Yellow Ribbon has John Wayne the embodiment of the thirty year army man. The year of the action of the film which is 1876 has Wayne mentioning in passing that he was at the Battle of Chapultepec in the Mexican War which started in 1846. Wayne's Nathan Brittles was by his account a dirty shirt tailed runaway from his father's Ohio farm when he joined the army. And now he's reached mandatory retirement. He's married and has had a family who he's lost for reasons John Ford doesn't explain in the film. But Wayne dutifully, "makes his report" at their gravesides every night he's at the post.

Wayne's seen a lot of military history and a lot of tragedy. With no family left, the United States Cavalry is his home and family. He doesn't like the idea of retiring at all. In a later Ford film, The Long Gray Line, Martin Maher says that all he knows and holds dear is at West Point. Wayne could have said that line himself here.

Even though George O'Brien is the commanding officer at Fort Stark, Wayne is the father figure for the whole post. And not like some of the others don't behave like children. The whole romantic rivalry between John Agar and Harry Carey, Jr. over Joanne Dru seems pretty childish. Cute while in the safety of the post, but when out on a mission downright dangerous and Wayne like the good father scolds his kiddies.

With some makeup to grey his hair and wrinkle him a might, Wayne turns in one of his finest performances on the screen. Harry Carey, Jr. wrote what is probably the most evenly balanced portrayal of the Duke in his memoirs In the Company of Heroes. They didn't always get along, but Carey says Wayne was an inspiration to him and the other younger cast members. In fact during the scene with the gunrunners Paul Fix and Grant Withers being killed in the Indian camp while Wayne, Carey, and Agar watch on the ridge, the whole idea for the chaw of tobacco bit came from Carey himself, but that Wayne encouraged the improvisation as he was wont to do.

Other than the Duke, my favorite portrayal in the film is that of Ben Johnson as Sergeant Tyree. Wayne recognizes in him a younger version of himself. In fact Tyree is a former Confederate Army captain, a fact brought out in the death scene of "Trooper Smith" another former Confederate who in fact was a general in that army. Ben Johnson was a real cowboy, a horse wrangler who John Ford gave a chance to act. He graced many a film with his presence and won himself an Oscar to cap his career in The Last Picture Show.

Like in Fort Apache and Rio Grande, She Wore a Yellow Ribbon is the story of the professional soldier and the sacrifices he makes when he gives up his civilian status to serve his country. It's a universal theme, not just confined to the USA. No one embodied that theme better than did John Wayne as Nathan Brittles in She Wore a Yellow Ribbon.

This film is the second entry in John Ford's "cavalry trilogy" and may be the best of the three with John Wayne's performance being one of the best of his career. The picture is an ode to the U.S. cavalry in the wake of the Custer debacle with the threat of more Indian uprisings on the frontier. Wayne's escort patrol is the film's focal point which also has an on-going romantic squabble between two young officers and a woman which explains the movie's title. The wonderful lensing captures the natural beauty of Monument Valley, and the scenes of the patrol crossing the wide expanses during a thunderstorm with lightning streaks against the dark clouds are among the picture's best moments. Ben Johnson stands out as an ex-Confederate soldier and point man and other Ford stock regulars such as Harry Carey Jr. and John Agar have supporting roles.

One of the best written westerns and an Oscar winner for cinematography, this John Ford western, some 10 years after Stagecoach, shows a different side of Wayne.

It is the middle film in John Ford's (and actor John Wayne's) U.S. Cavalry trilogy, which includes Fort Apache (1948) & Rio Grande (1950. It is the best of the three as we see Wayne, just short of retirement, trying to mature a couple of Lieutenant's to take his place.

Comic relief is provided by Victor McLaglen, as Top Sergeant Quincannon, especially where he single-handedly whips eight men between drinks. His presence can certainly light up a movie.

It seems trite to say they don't make them like this anymore. But it's a fact. They don't make them like this anymore. And it seems likely we won't be seeing them making them like this ever again. This is John Ford at the height of his career, at his best, doing what he did best. On location in the Monument Valley, it is more than fair to say the scenery, the colors, even the weather, along with Ford's cinematography, particularly the patient framing of his shots and making full use of the setting and environment in which he filmed, are every bit as much stars of this film as are the featured human stars.

None of which is to say the human stars weren't good. John Wayne in the lead turned in a remarkable performance. Wayne was 42-years old when he made this, but he was playing a character much older than that, perhaps as much as 20 years older, and Wayne pulls it off. He looks and seems like a 60-year old man. He showed his acting chops here.

Ben Johnson had been around awhile at this point, mainly as a stuntman, but here he makes one of his first forays into real acting, and he does well, which no doubt boosted his career.

Perennial John Wayne sidekick Harry Carey, Jr. is here too, at the ripe young age of 28. It occurs to me as I write this in November 2008 that he seems to be the last surviving cast member of this movie.

Joanne Dru. What can be said? While this movie was made before I was born, Joanne Dru plays the fetching young woman wearing the yellow ribbon and stirring the male ashes deep inside as well as anybody ever could, and she was quite fetching indeed. Her performance still striking that chord precisely that way almost 60 years later.

Ostensibly this is a western, but this movie is actually much more a military movie than just a western. John Ford was a military man himself, who ultimately retired as a Navy Reserve Rear Admiral. He knew what the military was all about, he understood and enjoyed military life, military ways, military customs, and military culture, and he clearly relished making military depictions. So that's what we see here. All that military stuff. Oddly, though, it all seems out of time in a way. This movie was made in 1949, just a few years after WWII. While making a movie about the cavalry fighting the Indian wars in 1876, the military culture Ford depicted seems more apropos of the 1940s than of the 1870s. For instance, I'm just not sold on this version of history where US cavalry men were burdened with and hauled around family members in the wild wild west. Maybe they did, but I'm not so sure. It seems much more likely this was a device added to appeal to 1949 audiences. There are other examples of this. This is the only flaw in an otherwise very good movie. And who knows, maybe it isn't a flaw at all, true or not. It's a good movie. Ford made a movie in which he talked to all those recently mustered out veterans he knew were out there populating his audiences. On that level he succeeds.