Sólo los valientes

The more desperate his fight on the desert's scorching sands , the more adored he was in her arms ¡ . Gregory Peck as captain Lance who gave Fort Invincible his name ¡ . Richard Lance (Peck) is a honorable cavalry officer to roust renegade troopers and a tribe of Indians Apaches . Cavalry captain is saddled not only problems with Native American but irritability among his own undisciplined troops . Lance is wrongfully framed by his girlfriend (Barbara Payton) and underlings of killing lieutenant Holloway (Gig Young) massacred along with a patrol by Indians . Richard Lance eventually puts the bridle on tight and struggles to win his soldiers respect while warding off violent Indians. Richard along with a group of soldiers have to defend a left fort surrounded by Indians until arrival reinforcements who are using a Gatling machine gun . The angry Apaches (led by Michael Ansara, usual in Indian roles) are out on a rampage of killing , seeking vengeance against the white intruders, and with the aim for eliminate them.

This is an acceptable , conventional tale with action galore about a hard-bitten officer who goes to hell and back while assembling a detail of misfit cavalrymen to hold-off rampaging Indians and later on regaining the respect of his soldiers and his sweetheart . Gregory Peck and a top-notch all-secondary-star-cast as Ward Bond, Steve Brodie , Warner Anderson , Neville Brand , Jeff Corey and Lon Chaney Jr as the Arab ; all of them shine in this gripping story about a surrounded garrison . Furthermore as protagonist girl appears Barbara Payton ( who acted in important films as Dallas, Drums in the deep South , Kiss Tomorrow) , she turned to be one of the saddest stories from dark chronicle Hollywood . Attractive blonde sexpot and her life eventually disintegrated,mostly by her own doings . She was the subject of a spread in Confidential Magazine in the early 1950s when then fiancé Franchot Tone allegedly caught in bed with Guy Madison . Tone later married her , despite the indiscretion, besides she had a tempestuous relationship with Tom Neal. But happened the downfall , her once enticing countenance now blotchy and once sensational figure now bloated,Barbara sank deeper into the bottle and had several brushes with law , among them public boozy , bad checks and ultimate prostitution . The 39 years former star was found on the bathroom floor.

Director takes a fine penned screenplay creating a cavalry-Indians tale that is far from ordinary , exploring the anguish of soldiers and including jarring burst of violence , however it packs a predictable ending . It's the habitual theme about an unit stranded by enemies and their grueling efforts to break the siege, issue imitated many other times . Gritty and passable written Western from Edmund H. North and Harry Brown , based on the novel by Charles Marquis Warren ,also Western filmmaker .The picture contains nice moments though partially unsatisfying and disappointing for the reason of the deeply claustrophobic environment . Well produced by William Cagney , James Cagney's brother , this Western is predictable and conventional but entertaining. Thrilling and stirring musical score by the classic Franz Waxman . Cinematography by Lionel Lindon enhances the dark tones especially on the besieged fort .

The motion picture is professionally directed by Gordon Douglas . He's an expert on adventures genre as ¨Black arrow¨ and ¨Fortunes of Captain Blood¨ , both starred by Louis Hayward ; but he's mainly specialist filmmaking Western , his first was ¨ Girl rush (1944)¨ and in the 40s directed ¨Doolins of Oklahoma¨ and ¨The Nevadan¨ for duo Harry Joe Brown-Randolph Scott . He went on directing Alan Ladd's (as Jim Bowie) vehicles as ¨Iron Mistress¨ and ¨The fiend who walked west¨ which resulted to be a Western rendition to ¨Kiss of death¨. In the 50s he proved his specialty on Western in the films starred by Clint Walker as ¨Fort Dobbs¨ ,¨Yellowstone Kelly¨, ¨Gold of seven Saints¨ and about legendary bandits as ¨Doolins of Oklahoma¨ and ¨Great Missouri raid¨ . After that , he filmed ¨Chuka(1967)¨ that bears remarkable resemblance to ¨Only the valiant¨ , the remake ¨Stagecoach (1966)¨ , ¨Rio Conchos¨ with Richard Boone and considered the best Western and finally ¨Barquero(1970)¨with Lee Van Cleef and realized in Spaghetti style.

In the book that Michael Freedland wrote about Gregory Peck, Only the Valiant is described as the worst film Gregory Peck ever made. During those beginning years of his stardom it seems like just about every film became a classic of some kind.

Only the Valiant was shot on the cheap and it shows. The book says that Gregory Peck's cavalry uniform was an old costume worn by Rod Cameron in one of his B westerns. It was an independent production by James Cagney and as part of the deal Peck got Barbara Payton who had a contract with Cagney himself and was used in Kiss Tomorrow Goodbye which he produced and also starred in.

According to Michael Freedland's book, Peck who was still tied to David O. Selznick got $60,000.00 for the part of cavalry captain Richard Lance. Selznick got $150.000.00 and Peck was not a happy camper. Still being the professional he was, Peck did the film.

In truth Only the Valiant is a far better film than MGM's big budget The Great Sinner which Peck also starred in. Mainly because of a very competent crew of players that James Cagney gathered for this film. And an interesting script which contains elements of Beau Geste, The Lost Patrol, The Dirty Dozen and David and Bathsheba which Peck had starred in.

Peck and Gig Young are rivals for Barbara Payton and Peck is ordered to send Young on a patrol to take hostile Apache chief Michael Ansara to a better staffed army fort. Young gets killed and Ansara escapes and the old Uriah the Hittite story starts circulating at Peck's post.

Later he gets an assignment to man an abandoned fort that sits across a narrow mountain pass that the Apaches can't even charge through on horseback. He takes a select group of army misfits, some of whom would like to kill him worse than the Apaches.

Even with Ward Bond as an alcoholic corporal, any resemblance between these soldiers and those John Ford cavalry pictures is coincidental. The ones who he takes with him, Sergeant Neville Brand, Lieutenant Dan Riss, Bond, Troopers Terry Kilburn, Steve Brodie, and Lon Chaney, Jr. are a collection that Lee Marvin would gladly have taken on a mission.

Chaney has the strangest role. He's named Kabushyan and he's Armenian though the men refer to him as A-rab. He's got one big old gay crush on Gig Young though it's not spelled out due to Code restrictions and he hates Peck worse than the others. It's the best performance in the film.

Only the Valiant has an A list cast with B production values, I wish it had been done with a bigger budget.

Made a couple of years after Ford's 'Fort Apache' (1948), in some ways Douglas' violent film is reminiscent of that earlier work. Gregory Peck's straight-backed Captain Lance, the unpopular stickler for honour and adherent to all the fine print of duty, recalls Ford's military martinet Lieutenant Colonel Thursday (Fonda). There's a significant difference of course: Lance has a quiet competence throughout (and grudging respect of the ranks) conspicuously absent in Thursday's command. And whereas Thursday's actions lead to disaster, Lance pulls off a successful mission. Corporal Gilchrist (Ward Bond, also in 'Apache'), grudgingly admits as much as he declines to shoot the Captain, maddened at the height of his personal whisky drought: Lance is "the only man who can get them through", faults and all. Like the narrow pass through which the Apaches must move to attack the fort, Lance works within a narrow confine of responsibility and honour which can be dangerously constricting.

Interestingly, for a film ostensibly full of action, much significance attaches itself exactly to the opposite. For instance, it is Lance's unwillingness to draw upon others to clear his honour that estranges him from the post and his girlfriend Cathy after the death of Lieutenant Holloway. Most importantly, it is Lance's 'failure' to shoot the indian chief at the beginning, immediately after the fluke capture, which precipitates the death of so many others (a fault corrected at the end when Lance uses a knife in the last struggle). The film suggests that it necessary to bend the rules sometimes to achieve more effective results (whether or not this includes condoning murder in cold blood of a captive is another matter) - and positions various disrupting influences against the Captain as way of demonstration of the checks and balances this involves.

Chief of these is Corporal Gilchrist, who rather steals the film -particularly in the light of Peck's characteristic dullness as an actor. It is Gilchrist who is present at the start of events, he who rounds out the film. It is he too, who provokes a rare yielding, as far as military rules are concerned, by Lance: the Captain allows him a surreptitious swig of whisky just before the final attack. A boisterous, womanising drunkard, Bond plays a character to the hilt familiar from Ford's 'cavalry trilogy' and other films.

The forces contrasting Lance's discipline, control and code of honour rang neatly and conveniently against him at the fort. A deserter, a drunkard, a frustrated bully, an irrationally violent man - these and others, are the small command aptly chosen by Lance (being those the army can "spare mostly easily") to support his mission. In effect, such a select rabble represent the dregs of the army. But also, the weaknesses and darkness which all men contain, and naturally it is these which Lance has to face and master, as much as holding the pass against more physical incursion.

Reflecting this intrigue, the film is naturally rich in character acting. Besides Bond's loud bluffness, one also relishes Chaney's satanic Kebussyan (his character definitely *not* a Fordian derivative!), and the grouchy bitterness of Neville Brand's sergeant Murdock. Much of the film's pleasure lays in such incidentals, especially as the events at the pass, when examined logically, hardly make military sense (Why don't the indians just attack in one go? Why do they keep retreating back through the pass when they have broken out?)

Douglas, who went on to make the superb 'Rio Conchos' (1964) and the minor cult item 'Barquero'(1970) made too few Westerns, and does a good, tough job in direction. His pacing and grasp of tension helps to mask over the glaring differences in geology between the studio's 'pass' and the real thing shot on location. Co-scriptwriter Brown was to write Hawk's masterpiece El Dorado. In short: recommended, but for a more complex and convincing portrait of the cavalry under command see Ford.

Capt. Richard Lance is a wronged man, he's being held responsible for the death of a much loved Lieutenant. When the chance arises for him to take a small band of men to the vanquished Fort Invincible, Lance readily takes up the challenge. Picking the men who despise him the most, and the ones he feels have major character flaws, Lance and the handful of soldiers must hold the fort from Apache attack until reinforcements arrive. Running out of water and at war with each other, it's becoming increasingly likely that this is a suicide mission from which none of them may return.

Some people say this is one of Gregory Peck's lesser efforts, that it be low on production values and stilted in its execution. Not so say I, in fact this to me is a far more engaging picture than the much revered Rio Bravo eight years later. Oh for sure the Howard Hawks film is far technically superior, but I'd argue that for cast efforts and sheer entertainment value Only The Valiant wins out in the duel every time. Gregory Peck, Ward Bond, Gig Young, Lon Chaney Jr, Neville Brand & Warner Anderson each contribute greatly to make this a dramatic and involving picture. It simmers along as a highly charged character piece as we have a group of men deeply in mistrust of each other, yet interestingly they are bound by a mutual dislike of their Captain. One special sequence sees Lance (Peck at his straight laced best) assassinate each soldier's character; one is a bully, another a deserter, a drunk, a black heart, a coward and on he goes, and it's here where the film really kicks on to be a crackerjack character driven piece. The violence is pretty strong as well, director Gordon Douglas is not shy to put blood on the bones of the writing, and I dare you not to feel a rush of adrenaline as the Apache's start to screech prior to their wave of attacks.

From watching these intriguing characters in a wonderfully tight situation, to the blood pumping Gatling Gun finale, this picture scores high on many entertaining levels. 8/10

...I saw this movie when it first came out in France, in my hometown, 54 years ago, I was nine, and today I still remember each black and white frame, especially the black ones, because it was so tense, scary, those sneaking attacks through that dark pass in the mountain, the two soldiers, prisoners forced to fight each other by their captors, the last battle with the uncovering of the wagon with the Gatling in it firing away, the last fight between Peck and the chief, and the Happy End which let me take back my breath. I haven't seen it since then, and I don't know if it would be a good idea to see it again today, it was such a fabulous moment for the kid I was.