Der Teufelshauptmann

The second instalment of the acclaimed John Ford cavalry trilogy had a lot to live up to after Fort Apache (1948). So it may not be too controversial to state that "Yellow Ribbon" doesn't quite achieve the potential promise that Fort Apache's foundation building had provided. However, here is still a mighty Western of many joys.

The lead theme here is the passing of time, of time and love lost, lest we forget indeed. These themes give the film a strong emotional heartbeat from which to work from - even if on proviso it's noted that elsewhere there is not much in the way of an adrenalin pumping action extravaganza. Accepting it as an affecting character piece is something of a requisite if you want to get the most out of the viewing experience, and of course simultaneously getting wrapped up in the gifted art of film making in the process.

John Wayne gives a top notch performance in what is obviously one of the first out and out serious roles that Ford gave him. His ageing Captain Nathan Brittles requires him to put in a very fallible human type of performance, something that he achieves in spades. He's a believable leader who is ruing the calling of time on his career in the service. Yet even Wayne's affecting turn is trumped by some of the most gorgeous cinematography you could wish to see from the 1940s.

Winton Hoch clashed with Ford on the shoot about various perfections (both parties equally to blame of course), but the final result is incredible. Witness a scene as Brittles visits his dead wife's grave, the backdrop is all purple and red, a storm is imminent, metaphorically and in reality. Has shooting in the desert ever been so colourfully lush? The locations are breath takingly brought to vivid life, Monument Valley in all its glory.

Picture leaves an indelible mark on the conscious for the art and performances (Joanne Dru, Ben Johnson, Victor McLaglen & Harry Carey Jr bring their "A" game), but temper that slightly for as a story it just about gets by for dramatic purpose. Yet of course John Ford knows his onions and structures it accordingly, bringing precision and a genuine love of the genre and the material to hand. 8/10

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.

There is an ironic point about the production of SHE WORE A YELLOW RIBBON immediately after FORT APACHE. Most critics agree that Col. Owen Thursday, the martinet commander, is based on General George Armstrong Custer, and that the massacre of his command due to his own pig headedness is the battle of the Little Bighorn. But SHE WORE A YELLOW RIBBON begins with that moment in the summer of 1876 when the entire frontier was nervous after word came of the destruction of Custer forces. The historic continuity (which is amazingly consistent, despite minor anachronisms) is shown early when Captain Brittles, visiting his wife's grave, mentions to her the death of Captain Miles Keogh at the Little Bighorn. Historically this is correct. Keogh, a hero of the American Civil War, served with Custer's Seventh Cavalry and died with his commander and fellows. In fact, the only "survivor" of Custer's forces at that disaster was Keogh's horse, "Commanche".

Captain Brittles has served in the American cavalry for thirty years. He was one of those soldiers who held higher rank in the Civil War with a "Brevet", but in the cutbacks in the army following the war (Custer went from brevet major general to Lt. Col. in the regular army)Brittles had to be satisfied with the rank of Captain. His wife and children died (presumably of some epidemic illness at the post - they are buried nearby). His old orderly from the war, Quincannon (Victor McLaglen) is still serving him. But he is facing a crisis. His thirty years means retirement, unless the army decides to promote him to Colonel. Despite the debacle in Montana, it is not too likely that the politically unconnected Brittles will get the promotion his fine abilities deserve.

So we are watching an old soldier slowly fade away in this film. Brittles is aware he has days before he is to leave (unless a promotion turns up), and he has to try to keep the hot blooded Indian braves, impressed at what they just saw Crazy Horse and the Lakota forces accomplish, go on the warpath. He also has to keep his two most promising young officers (John Agar and Harry Carey Jr.) concentrating on their careers rather than fighting over Joanne Dru. He is worried too for Sgt. Quincannon, who is likewise going to be leaving the army a few days after Brittles. Will Quincannon's drunken, roistering ways ruin his chances to maintain his pension? And he has to keep an eye on the suspicious behavior of the local fort sutler (Paul Fix) is up to - can he be running guns? Whatever he faces, he faces unflinchingly, and his motto is never to apologize - it's a sign of weakness.

For all the anachronisms listed on this thread, such as the 48 star flag (in 1876?), Ford got the time and place perfect in what counts. Note the fascinating relationship of Brittles and Sgt. Tyree (Ben Johnson). 1876 was a crossroad year for the U.S. regarding the results of the Civil War. In the negative, a questionable Presidential election result was solidified when three southern states agreed to support the Republican (Rutherford Hayes) over the Democrat (Samuel Tilden) in return for the Federal troops being pulled out of the south and the official end of Reconstruction policies benefiting southern African-Americans. One can't deny that is still a stain in American history (despite Hayes excellent handling of the Presidency afterwords). But the former foes were finding less and less reason to dislike each other, and more and more to admire the grit both sides had shown. During the Civil War, Tyree was a Confederate Captain - he was Brittles' equal in rank. Once the war ended, after a few years, he joins the American Army and rises to the rank of Sergeant. Technically he is not as high a Sergeant as Quincannon, who is Brittles' aide. But Brittles constantly treats Tyree as a full equal, consulting him again and again on how to move next when going out of the fort to confront the Indian threat. The highpoint of this respect is when one of Tyree's "soldiers", "Trooper Smith" turns out to be a former Confederate cavalry leader named Rome Clay, and dies of wounds in an action against the Indians. Brittles and his men watch silently while Tyree and his fellow southern soldiers bury Clay properly with his flag, the Confederate one.

In terms of relations between the whites of the North and South, SHE WORE A YELLOW RIBBON is miles away from the confrontations of, say THE PRISONER OF SHARK ISLAND. There John Carridine's northern officer has nothing but fanatical contempt for Dr. Mudd, whom he considers evil for helping John Wilkes Booth. Until the end of that film, Carridine takes a sadistic interest in making Warner Baxter regret his every move. The events of THE PRISONER was from 1865 - 1869 (when Mudd finally returned to Maryland). This is seven years afterwords.

There are other little historical pointers. The rivalry of immigrant groups is shown when Quincannon is facing rival Sergeant Hochbauer, who openly dislikes the former as an overbearing Irishman (Hochbauer being a German). There is the civilian clothes that are meant for Brittles (complete with "Muller cut-down hat") that Quincannon ends sampling (which leads to his hysterically funny fight with Hochbauer and the other soldiers meant to take him to the guardhouse). Quincannon insists he is not out of uniform (technically he is) but is simply dressed as a retired gentleman should be. Yes, in 1876, that would be the dress of a retired gentleman.

I like this film. The characterizations of the all the actors are strong, and Ford had great set pieces in it. Perhaps not as great a film as THE SEARCHERS (which is more meaty and dark), but a top notch Western all the same.

This attractive movie scripted by Frank Nugent is the second episode in prestigious cavalry trilogy , united to first , ¨Fort Apache¨ and following , ¨Rio Grande¨ . It deals with an ageing officer named Nathan Brittles (Wayne's greatest role as an Indian fighting Captain) and a sergeant (a sympathetic Victor McLagen) about retirement , attempting to custody the outpost commander's(George O'Brien) wife (top-notch Mildred Natwick) and daughter (gorgeous Joanne Dru) and drive and repel Indians off lands . Meanwhile , she's lured by two suitors (John Agar and Harry Carey Jr) wearing a yellow ribbon .

This extraordinary film packs melancholy , good feeling , friendship, comedy and marvelous outdoors . Furthermore, the usual comic relief in charge of Victor McLagen as a drunken sergeant . The movie contains usual Ford's themes , such as unlovable camaraderie , emotionalism with nostalgic longing for old values , as the family and tradition . Besides, there appear notorious secondary actors , Ford's usual , as Ben Johnson , Jack Pennick , Francis Ford , Paul Fix , among others. Winton C Hoch's impressive colour cinematography in stunning Technicolor , which deservedly won an Academy Award , reflecting splendidly the wide open spaces filmed in Monument Valley , Ford's penchant for location work . Winton Hoch assisted by cameraman Charles Boyle shot natural storms with real lightning and thunders while the groups of soldiers go riding . Emotive and patriotic musical score with classics ballads by Richard Hageman . The motion picture was wonderfully directed by the master Ford . Rating : magnificent movie , it is an unforgettable and unchallenged classic movie .

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.