Rio Grande

As a writer, I find this to be the most honest and least pretentious of all John Ford's western films. His cavalry trilogy ended with "Rio Grande" (the others are "Fort Apache" and "She Wore a Yellow Ribbon: and it was also the first pairing of John Wayne with Maureen O'Hara, with whom he made five film appearances all told. The setting of the film is not glamorous by anyone's standards; it is dusty, hot, remote, a country for hard men and hard duty. The storyline has Wayne in command of a fort. When his son is assigned to him for training with other recruits, his wife, estranged for fifteen years, follows him--to try to meddle... The storyline makes clear that during the Civil War he refused to disobey orders to burn down her family's plantation; now she's come west, and he wants her back and want to instill his pride in and love for the cavalry in his son. There is rough humor in the film, changes to mind and body, learning to ride, standing up to the elements and to men, lessons the West can demand of anyone who comes there. nd after a plan of Wayne's to protect settlers against the Indians backfires, he has to risk everything to save his career and his command. The theme of the film is that any man has to dare and dream beyond old conventions and ideas in order to reach his best; and that goes for O'Hara as well. The film was directed by John Ford, with script by James Kevin MacGuinness..Bert Glennon's skilled B/W cinematography captures the bleak beauty of the spare semi-desert country, and admirably. Frank Hotaling did the production design and Victor Young contributed the score. In this feature's large cast were Wane, O'Hara. Claude Jarman Jr. of "The Yearling" as their son, Harry Carey Jr., Victor Maclaglen, J Carrol Naish, Chill Wills and many solid western performers. But the best thing to me about the production is the absence of any attempt to glamorize or apologize for the West. The men who rode for the cavalry lived with loneliness, the roughness of the country they patrolled and constant danger from those they opposed; this film makes it clear why men would do this for the meager pay they received; that it was the challenge they took up, as a way to use their abilities and emotional strength to the full. That is why I like this film the best of all of Ford's estimable works.

For some reason, over the years I failed to see this particular John Ford western, thinking it was probably just another cavalry yarn and I'd seen so many of them I figured I'd let this one pass.

Wrong. It's now among my favorite John Ford westerns with both JOHN WAYNE and MAUREEN O'HARA giving really heartfelt performances as a husband and wife separated for some time, their only son (CLAUDE JARMAN, JR.) having just joined the regiment as a soldier under his father's command at an outpost being menaced by Apaches.

There's a jaunty, rollicking score by Victor Young that captures ballads of the Old West to provide some colorful background music, wonderful scenes of soldiers training under VICTOR McLAGLEN (at his crustiest and endearingly funny), BEN JOHNSON (wonderful as a man on the lam), and the breezily confident HARRY CAREY, JR. It's even got a story that has more than one theme running through it--the personal conflict between father and son, husband and wife, and how the young son (played extremely well by Claude Jarman, Jr.) has to prove himself to his fellow soldiers.

The final shootout occurs when the Apaches kidnap some children and hold them prisoners in a church. It sets the stage for the final encounter, just one of several skirmishes with the Indians that is masterfully staged and photographed.

Pictorially, it's one of the handsomest of all the John Ford epics and should definitely have been filmed in Technicolor, although the B&W photography is indeed impressive. MAUREEN O'HARA gives one of her most sensitive portrayals and JOHN WAYNE is at his best.

Summing up: A solid western well worth watching whether you're a John Ford fan or not.

This is an excellent film. Not usually a western fan, I am now a true-believer -- fan of the genre, of Wayne and O'Hara, and even, reluctantly, John Ford. Rio Grande captures the spirit of heroism that colors most of John Ford's best work. Strong personalities pursuing their values with a philosophical issue dividing them: it has an excellent, concise plot, well-developed characters, and boasts fantastic acting. Ford even shies away from allowing the scenery to star in the picture, which is a welcomed departure. With monuments like Wayne and O'Hara one does not need Monument Valley (this writer humbly submits.)

There is a profoundly moving scene in which Kirby and Kathleen York's entire relationship is summed up in the mere singing of a song (by the unforgettable voice of Ken Curtis) and O'Hara and Wayne's excellent acting -- hardly any dialogue, no flashbacks. It has to be cinematic moment for the history books... it is at least in mine.

By the way, avoid the colorized version if possible. Among other distractions, it makes John Wayne's hair look like instant brownie mix.

Although I am not particularly fond of westerns, I saw this movie since I had heard much about it from many people. It is true that a lot of westerns show the wild lives of cowboys overdoing with cruelty. RIO GRANDE, however, is a different story. It is not only a western but a highly educational movie which combines all precious values in life, some of which do not necessarily go in harmony, including honor, love, the feeling of duty, grandeur, and psychological reflections. Moreover, as a film, it is supplied with highly prestigious cinematography, memorable music, and, most importantly, great cast. But there is something more that makes Ford's film really memorable - the characters presented very clearly. But why such a title? While watching the movie, one clearly notices that the title RIO GRANDE does not only refer to the famous river that separated the cavalrymen from Indians in Mexico, but has wider metaphorical extensions.

The characters are very well developed throughout. Lieutanant Kirby Yorke (John Wayne), a northerner, lost the family 15 years earlier but never gives up finding a chance to rebuild the old relationship with his southern wife, Kathleen (Maureen O'Hara) and their son Jeff. His "rio grande" is duties and strict orders that make a barrier for a happy life within the family. Kathleen Yorke tries to get her son out of the cavalry; however, Jeff decides to protect honor rather than his comfort. She also aims at rebuilding the family ties with Kirby but is aware that it requires much sacrifice. Their relationship is built upon a high respect for the freedom of both and a very delicate love between a man and a woman. Jeff (Claude Jarman), their son, attempts to do right and seeks for the honorable deeds. The blink of ambition in his eyes is noticeable in every scene with him. There are also other characters that the movie shows in a very psychological light (consider Travis Tyree played by Ben Johnson).

The cast give memorable performances but the pair of John Wayne and Maureen O'Hara shine above all. Wayne seems to have been born for the role and, although he played in two previous parts of John Ford's cavalry trilogy (FORT APACHE and SHE WORE A YELLOW RIBBON), he gives his best performance in RIO GRANDE. Wayne wonderfully emphasizes grandeur, feeling of duty and a husband who reflects on his past mistakes in marriage. Maureen O'Hara has something aristocratic in her behavior as well as in her appearance, which helps her portray a southern lady who used to live a rich life on a plantation. She also stresses her attempts to rebuild the past mistakes; however, she seems to be driven by completely different factors.

Music is absolutely wonderful for this genre. The ballads supply the movie with sentimental mood. Yes, they are deadly sentimental, but they in no way make you sad but rather lifted to high emotions. Here comes to my mind a very poetic scene when Wayne and O'Hara are serenaded by troop soldiers on one moonlit night. Their faces strongly express profound emotions and nostalgia for the better life together. This is so well played that anybody who sees the pair will be able to deduce some reflections from their faces.

Some people said that the Apaches are showed as real monsters in RIO GRANDE. It is important to state here that they are showed exactly in the way they were perceived rather than what they were really like. These were very "wild" tribes in the eyes of the white people and that is what the film shows. As a matter of fact, both the Apaches and the cavalrymen defended their values and John Ford did not forget about it.

And coming back to the thrilling atmosphere of the movie, there is one more aspect that needs to be mentioned - the locations. The Monument Valley supplies the scenes with authenticity as well as drives viewers into a wonderful mood. It simply leaves an unfading trace in memory as do the cast, the content, and everything about RIO GRANDE.

What to say at the end?... The last part of Ford's cavalry trilogy, though 55 years old, is a classic attempt to bring all that is valuable onto screen - HISTORY MEETS SINGLE INDIVIDUALS! Aren't our lives constructed in such a way that we all have our own "rio grande", such a barrier that closes us from happiness? I leave this universal question open to every open minded reader as John Ford implicitly did more than 50 years ago to every open minded viewer. Anyway, the film is unarguably worth seeing!

"Rio Grande" was the last of John Ford's cavalry trilogy, which also included "She Wore a Yellow Ribbon" and "Fort Apache". Like the latter, this film was filmed in black and white. All three films were based on short stories by James Warner Bellah.

In this film John Wayne and Maureen O'Hara first played the romantic roles that they played later in films like "The Quiet Man" and "McLintock". There is real chemistry between these two stars. Their relationship is a major thread that weaves the plots and subplots of this film together. Both of their characters have depth. O'Hara is more than her usual fiery Irish self. She is sensitive, sometimes humorous and occasionally aristocratic. She has difficulty hiding her continued affection for her estranged husband Wayne despite the fact that he was responsible for burning the family plantation. Wayne is the tough commanding officer of the remote outpost. His toughness masks a softer side. This shows clearly when he stands outside the hospital window of his son, who has a black eye from a "soldier's fight". At the end of the film he takes a father's pride in his son's courage in battle.

There is more going on in the film than in the usual Western. There are relationships. Wayne is disappointed in his son who flunked at West Point and enlisted in the cavalry as a trooper. His mother wants to buy him out of the cavalry. The son wants to prove himself. All of this contributes to some real human moments in the film. Subplots include Trooper Tyree's sometimes humorous attempts to escape the law and the sometimes unwilling help provided by others. And of course there are the Apaches.

The river is a major theme in the movie. It is a barrier which the cavalry cannot cross in their pursuit of the Apaches. This is demonstrated in the opening credits. The cavalry and Mexican soldiers meet at the river in a scene from later in the movie. When captured chiefs escape across the river Wayne meets a Mexican officer in the middle of the stream. He offers to place himself under Mexican command. The Mexican officer declines, saying he must defend the border "at all costs". Wayne responds, "With three men.. .Your dedication to duty is to be commended. I too have my orders." At the end of the film Wayne risks his career with the complicity of General Sheridan (played by J. Carroll Naish) and crosses the river to rescue the children captured by the Apaches.

The supporting cast does a wonderful job with this film. Many are regular faces in John Ford films. Ben Johnson and Harry Carey, Jr. play friends of Wayne's son (played by Claude Jarman, Jr.). Victor McLaglen plays the role of top Sergeant. He played the same role in all three films in Ford's trilogy. Chill Wills is around and is much better than usual as the doctor who helps Trooper Tyree escape from a Texas sheriff. The Sons of the Pioneers are also on hand to sing songs.

The Victor Young score includes elements which will appear later in the "Quiet Man". Many of the songs are dumb and inappropriate. There are too many Irish ballads that would have been much better used in "The Quiet Man". The few songs by Stan Jones are the best of the lot. At one point in the film the cavalrymen are walking their horses to the lyrics "twenty-four miles on beans and hay".

Photographically this film is less impressive than "She Wore A Yellow Ribbon", but the usual shots of Monument Valley are still impressive. There is an appropriate dark quality to this movie that is missing in the other films in the trilogy, even in "Fort Apache", which was also filmed in black and white. The scene at the deserted church is memorable. The black and white photography accentuates the shadows and the threat of death to the children as the Apaches dance the night away.

This film is based on a historical incident. In 1874 Colonel McKenzie led the 5th Cavalry across the Rio Grande to destroy a Kickapoo village in Mexico. The Kickapoos had been raiding quite successfully in Texas and efforts to punish them had been quite fruitless. This forgotten incident was used by Ford in this film. The Indians now are Apaches, but whoever heard of Kickapoos?

This fine Western is worth seeing for its rich characterizations and fine story. It can be enjoyed on many levels.