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When I was scannning the reviews of this excellent movie, I found one comment that really flipped me out... REMAKE A JOHN FORD CLASSIC like Sergeant Rutledge????? Good Lord, what are you thinking. I am basically opposed to most remakes anyway,but this film in particular has stood the test of time just fine.... As another reviewer said,it is NOT a typical John Ford film,but it has to be one of his best. Woody Strode,one of the most under rated black actors of his generation is superb as in the title role. I would have to do some research to see how many films he did for Ford..in this film he is amazing. Jeffrey Hunter as defense attorney Tom Cantrell also turns in an excellent performance,caught between the proverbial rock and hard place when he is 'forced' to defend Rutledge. Constance Towers as Hunter's conscience, the school teacher, Mary is also quite good. Comic relief is provided by Billie Burke(Glinda the good) as the commanding general's wife,who cannot understand why she cant sit in the front row.

I have drawn a complete blank as to the actor who plays the prosecutor at Rutledge's courtmartial, but he is also very good... shades of Hamilton Burger. As much as I respect Denzel Washington as an actor ,I can't imagine him agreeing to remake this excellent film.... as for Ben Affleck as Cantrell, NEVER IN A MILLION YEARS. As I said in a previous review, if it ain't broke,don't fix it.....Bearing in mind that Ford, Hunter and Strode are all gone, it just wouldnt be right.

Western is not my favorite genre, but good character studies are, and Ford specialized in these in the 50's and 60's to a greater extent that most moviegoers realize. The boundaries of what Strode is willing to share with Hunter and what cannot be broached are fascinating enough, but Ford takes us deeper into all the characters and their motivations. I agree with an earlier observation comparing it with Breaker Morant and saying it was more than 20 years ahead of its time; I would say a mix between some of the most compelling aspects of Breaker Morant and A Soldier's Story. Watch this film.

Up to now I have considered "The Searchers" the Best of Ford Westerns. It has better picture (VistaVision), and the legend of John Wayne to back it. Some of the secondary roles are better portrayed by more expert actors such as Ward Bond, just to mention one. Production is more lavish..

But the plot in "The Searchers" is unidirectional. It's just a story of white settlers against Indians.

Sergeant Rutledge goes much deeper, into the social "fabric" of America,

To avoid fastidious repetition, let me just point that the story goes into "American Problems" that endure 100 years after. Racism, young female behavior, that affects men of power, and old rich females who own perhaps more than 50% of the total assets (the wealth of the Nation) of the USA, and last but not least, the excessive power and "tricks" of legal professionals that always leads to corruption.

It is all there. If the actors were a bit upper-crust it would be the best, but Jack Warner did no provide the cash.

A must see...

John Ford openly displays his poetry in this magnificent film "Sergeant Rutledge". Maybe the great director and artist was annoyed that many did not get the anti-racist messages that permeate all his works (starting with "The Searchers": ever noted it?) and decided to make a definite, open statement.

To be as clear as possible, Ford willingly shows his art, poetry and trade-mark techniques in the most evident way. He masterly uses images and camera-work to convey emotion. We see Woody Strode (Sergeant Rutledge) constrained in a small chair, his never-ending shoulders covering half of the screen. And we feel uneasy. We feel that something evil is going on, that it's deeply wrong to keep such a man in chains, let alone to hang him. And then we see Woody Strode standing out, the Monument Valley on the background, like John Wayne in many other Ford's movies. I'm sure that such parallel Wayne-Strode was Ford's deliberate choice.

Ford uses his skills of epic poet to describe characters. Rutledge is arrested and searched. They find no money or other goods, just his emancipation papers. So, here we have a Man with all his richness: his honor, his courage, his strength and an emancipation paper. Great stuff! And then Rutledge says to a wounded mate "We don't fight the whites' war. We fight for our honor". Only Ford always manages to turn military rhetoric into poetry, mainly thanks to the visual beauty of the scene.

Woody Strode makes an outstanding, deeply touching job as the black cavalry sergeant. His acting is sober, poised but intense, with no melodramatic sides, and he physically dominates the screen (by the way: what an amazing athlete Strode was, at age forty-six!).

Rutledge is the Hero, the Legend of the movie. Yet Lt. Cantrell (Jeffrey Hunter) is as interesting a character as Rutledge is. Cantrell is a man of the 19th century. Unavoidably, he does have racial prejudices, but he nobly endeavors to overcome them, and certainly at the end of the story is a better person than at the beginning.

I guess that the two female characters represent Ford's dream. Indeed, they both do not even understand racism. The poor murdered girl loved his friend "uncle" Rutledge, and that's all. She doesn't even get the hints of the old ladies, who disapprove this friendship. And the same can be said of Cantrell's fiancée Mary Beecher, very well played by Constance Towers. She nurses the wounded black horse-soldiers with no attitude of doing something special. And some lines of Mary's show Ford's wonderful subtlety. She has been over-night with Rutledge in a deserted hut. Mary says to a concerned Cantrell "I wasn't alone. Sergeant Rutledge was with me and he protected me as well as any officer could do". That's a lesson for Cantrell: the fact that Mary pretends to think her boy-friend just concerned about military ranks, implies that she does not even notice the color of the skin and requires Cantrell to be the same way. Well, probably the two women are not fully realistic characters, especially for the 19th century. They are idealized by Ford, as a poet has the right to dream.

A small remark. Most Ford's films (not this one, actually) raise some controversy. Many heartily love them and many strongly dislike them. I think it rather expectable. Ford is a poet, and a poet cannot please everyone. Personally, I was indifferent if not displeased by the works of some much celebrated poets. Thanks God, poets follow their own way, not caring people's taste.

"Sergeant Rutledge" is not perfectly constructed and chiseled like other Ford's masterpieces. Small defects may be found in some court-room scenes and flash-backs. However, this splendid movie deserves top grades, due to the importance of its message and Ford's sincerity in displaying his art. "Sergeant Rutledge" is another top work by the Master.

It was alright for Mr. Lincoln to say we was free. But that ain't so! Not yet! Maybe some day, but not yet!

John Ford's Sergeant Rutledge tells the story of a black man, 1st Sgt. Braxton Rutledge, a Buffalo Soldier of the 9th U.S. Cavalry who was up before a court-martial for the rape and murder of a white girl, Major Dabney's daughter, Lucy.

Taking place in the court room the story is told in flashback as Rutledge's (Woody Strode) troop officer, and defence council, Lt. Tom Cantrell (Jeffrey Hunter) attempts to piece together the evidence. From the outset Ford is on biting form as the case is being tried in a biased and corruptible court, we as the viewers are left in no doubt that Rutledge could be at the mercy of obnoxious white racists. It's one of the many things that makes the film a bold and at times angry picture. This was after all two years before the critically acclaimed To Kill A Mockingbird, thus making it one of the flag bearers for early acknowledgement of race relations in America.

As the sharp narrative moves forward, cloaked in visual excellence with Bert Glennon this time being Ford's cinematographer of choice, the film always keeps us guessing as to the outcome. We really can never be sure, such is the stench of racism that hangs heavy, a stench that is counter pointed by Woody Strode's wonderful and powerful performance as the on trial man. Also in fine physical shape at 46, Strode serves notice to just what a fine and important actor he was in relation to Black Americans in Hollywood. Hunter is handsome and strong in vocal delivery as the council in the middle of a real tricky trial, and Constance Towers as Mary Beecher is the glue binding them, and the story, all together.

It's a first rate picture from Ford, one that is largely (and wrongly) forgotten when talk of his oeuvre comes around. Still awaiting a DVD release in the UK, it's evident that it still remains hidden from many a prospective new viewer. This needs correcting because it's bold, beautiful and important cinema from a master director, who, as always, had much to say. 9/10