Tuya es mi vida

It's so sad.

I loved this movie so much as a kid. Then I grew up and found out it was all a big contrivance. It almost quashed my love for this movie.

But the truth did not succeed to extinguish my love.

The entertainment value of this movie is astounding and sometimes thrilling - but the historical value is so misguided that it almost ruins it for me. I now feel that, though this movie makes a sham of history - - it is a great showcase for the wonderful talents of Michael Curtiz, Errol Flynn, Ronald Reagan and Olivia de Havilland.

I particularly love the final rescue scene. It is choreographed and orchestrated so beautifully, it is hard not to be taken into the maelstrom of John Brown's destiny. Those battle trumpets still cause a chill to go up my spine.

Before I was old enough to understand the true nature of this tale, I visited Harper's Ferry and felt an honest chill when I visited the firehouse where John Brown and his men were captured. I touched the walls and stood in awe at being so close to such a fateful edifice.

It is now called John Brown's "Fort" because he was holed up in there for three days in October 1859. So close before the fateful Civil War embroiled our nation in its saddest chapter. But the building was a fire engine and guard house when it was built in 1848 and moved to Boston for display and then later, back to Harper's Ferry to a place about 150 feet east of its original location. The original location had become a railroad embankment...so it could not stand at the original spot.

Whatever you think about the historical inaccuracies of this film, its entertainment values are excellent for their own sake.

RAYMOND MASSEY is especially memorable as John Brown. His earnest and single-minded portrayal of a madman-with-a-quest is the great stand-out of this movie. The far-away gaze and fiery eyes are almost hypnotic in its concentration. I also enjoyed watching Ronald Reagan and Errol Flynn do their "stuff" as no one else can. These are actors that for better or worse will always stand out from the Hollywood fray with their own special brand of something indescribable and timeless.

Watch this movie with a grain or two or historical salt. Enjoy it for its sheer fun value.

Santa Fe Trail may not be great filmmaking, but it succeeds in what it sets out to accomplish and is generally satisfying viewing. Errol Flynn stars as J.E.B. Stuart, fresh out of West Point and now stationed at Fort Leavenworth in the Kansas territory, the starting point of the westward Santa Fe Trail. This was particularly hazardous country at the time, because abolitionist John Brown (Raymond Massey) was conducting violent raids along the trail. It quickly becomes the duty of Stuart and his pal Custer (Ronald Reagan) to capture Brown dead or alive, and put and end to his attacks.

There are many exciting sequences in the film, leading up to the final confrontation at Harper's Ferry. There's also a predictable romantic triangle between Flynn, Reagan and Olivia de Havilland. (Guess which one she picks!) The movie deserves credit for taking an objective viewpoint toward Brown, acknowledging that his motives were good even if his methods were not.

As Stuart, Flynn proves to be equally adroit in westerns as in swashbucklers. Reagan and de Havilland fill their less demanding roles with ease, and Alan Hale and Guinn `Big Boy' Williams provide much-needed comic relief. Massey somewhat overplays his hand as Brown, however. He comes off as too sanctimonious, more a cliché villain than a three-dimensional human being.

Apparently, the film is a travesty in terms of historical accuracy. Who cares? Movies are an entertainment medium. Anyone seeking facts alone had better confine their search to encyclopedias. Otherwise, just sit back and be amused.

"Santa Fe Trail" takes place in the 1850s as the America moved toward Civil War. It's mainly about the activities of self-proclaimed slave abolitionist John Brown and his efforts to provoke a war between the North and South.

The film begins in 1854 at West Point where a number of historical figures who would play prominent roles in the Civil War, are about to graduate. Leading the pack are JEB Stuart (Errol Flynn) and George Armstrong Custer (Ronald Reagan). Robert E. Lee (Moroni Olsen) is the Commandant of West Point and Jefferson Davis (Erville Anders) is the Minister of War. John Brown (Raymond Massey) is conducting bloody raids all over Kansas and has placed an operative, Rader (Van Heflin) within West Point. Stuart and Custer meanwhile, foil Rader and are competing for the affections of Kit Carson Holliday (Olivia de Havilland) the daughter of railroad magnate Cyrus K. Holliday (Henry O'Neill) who hopes to extend the railroad to New Mexico along, you guessed it, the Santa Fe Trail.

There is some very good action sequences ably directed by Michael Curtiz. Future Cvil War adversaries fight side by side against Brown and his followers but are coming to realize that the issue of slavery will not die with Brown.

Raymond Massey steals the acting honors as Brown the slightly mad but dedicated revolutionary. Flynn, Reagan and DeHavilland form the usual love triangle that always seemed to be a staple of the Warner Bros. westerns of the period. Alan Hale and Guinn Williams are along to provide the comedy relief. Heflin in an early role, is also excellent as Rader who seems to have his own agenda.

Also in the cast mostly unbilled, are Alan Baxter, Joseph Sawyer and for "B" movie fans, Charles Middleton, Trevor Bardette, Lane Chandler, Lafe McKee and Roy Barcroft (if you blink you'll miss him).

There's plenty of action and romance to keep the die-hard western fan happy. One of the better Warner Bros. "A" westerns of the period.

"Santa Fe Trail", a 1940 film that brought a number of rising stars together, mixes gross distortion of history with an unusual, compelling and honest confrontation with the age of slavery.

Hollywood's uses (and, more often, abuses) of history fascinate me. Some films try to stick close to accounts generally accepted while others openly employ characters from real life as a launch point for stories that have little to do with actual events (hey, if Shakespeare could do it...). Many films blend fiction with fact and, usually, they serve neither well.

Director Michael Curtiz's "Santa Fe Trail" is part western, part military history, part comedic romance. Olivia de Havilland, fresh from her "Gone With the Wind" adventure, plays a frontier girl with spunk - and an ability to keep her clothes clean almost always, no matter what. She is pursued by two young army lieutenants, the soon to be legendary Confederate cavalry office, J.E.B. Stuart (Errol Flynn), and the eventually to be killed with his entire command George A. Custer (Ronald Reagan sans Bonzo). The rival suitors are typically 1940s romantics - no unfair or nasty stuff here. So sweet is the path to nuptial bliss.

The story takes place before the Civil War when the Army tried to maintain peace between pro- and anti-slavery factions in Bloody Kansas. The army officers who actually are part of history are portrayed here as being all members of the West Point Class of 1854-that would make Custer about seven years younger and earlier in graduating than was the case). No big deal.

What makes this film a remarkable document is its unflinching, for the Hollywood of the 1940s, portrayal of the evil of slavery, the pain of blacks ensnared in its web and the thundering role of John Brown, played by Raymond Massey in a powerful, gripping performance.

John Brown, the abolitionist who in life and in the film murdered slavery supporters and seized the federal arsenal at Harper's Ferry, Virginia was a zealot, not a madman (he refused an opportunity to plead insanity at the trial which ended in his death sentence). Massey, one of the greatest actors of all time, captures Brown's total devotion to ending slavery - he projects passion, not psychosis. It seems to me that Massey had a picture of John Brown that he was determined to bring to life, the inane or frivolous parts of the film being totally irrelevant to his mission.

Hollywood before World War II generally treated blacks as minor props (waiters, Pullman car attendants, cooks and maids). Here a black family is traumatized by truly sinister racists. Brown's condemnations of slavery are taken from his speeches and writings. The film's producer and director and script writers took a major detour from the concerted Tinseltown effort to not produce any story that might cut into box office take in the South (and elsewhere-the North was no hotbed of campaigns for racial equality).

Worth seeing because of its unique take on slavery, for the time, and Raymond Massey's towering performance.

8/10.

Well, lots of Hollywood films from 1940 wrestle with the problem of the wars that were then raging in Asia and Europe, and with the likelihood that the US couldn't keep itself out of the madness for very much longer. And this is a pretty blatant example; set just before the Civil War that all the characters "know" to be coming, with every other person making statements about how they're not going to start making moral decisions because they're soldiers who just do their duty. So the film has acquired an interesting historical patina. But the subject matter is just so toe-curlingly awful that there ought to be a health warning before it's shown. Perhaps its best audience would be students of history-with-ethics. And if there's no such college course, perhaps it's best not viewed at all. Plenty of other films to watch, with Errol and Olivia and gunfights (or bowfights)!