La révolte des dieux rouges

This movie has a few surprises that make it far better than one might expect from a "forgotten film".

What I was surprised most about was the directing, which comes across as almost an homage (or "rip-off", if you're cynical) to the great John Ford. What Mr. Ford did for Monument Valley, William Keighley tries to do for Gallup, New Mexico. And, for my money, he does an extremely respectable job of it. The scenery is really beautiful, and all the more dramatic due to the fact this is shot in black and white. There are some great angled shots, clever compositions, and the director does well with the action sequences.

The screenplay dispenses with all the heavy-handed messages and over-the-top, unfunny comedy sequences one might find in a Ford film, and aims its sites on a human drama of confederate soldiers on a mission who are forced to go to Plan B, C, and D in order to not only complete their mission, but to get two Yankee civilians to safety in spite of entanglements with Union soldiers and Indians on the war path. I agree with another IMDb reviewer who commented on the middle of the film dragging, and the suspense that should have been building never quite gets a full head of steam, but there are some really nice moments that make it worth sitting through the few dull spots. And I must admit to being utterly shocked by the ending...I really never saw it coming...which made the final moments in this film extremely poignant.

For it being 1950, I was stunned to find so many real and honest performances. There was none of that obnoxious "Studio Acting" where everyone is chewing scenery and pretending to be their character...everyone in this movie WAS the character they were playing. Errol Flynn is one of my all-time favorites and his restrained performance here was wonderful. This was my first time seeing Patrice Wymore on screen and I really enjoyed her performance...it could have easily become an annoying, whiny, shrill character, but Ms. Wymore made some very nice acting choices and created a believable character. The supporting cast is all solid, but three must be mentioned as stand-outs: 1) The great Chubby Johnson as the stage driver has a small but wonderful role. You might not know his name, but you'll know his face and voice immediately...one of the all-time great Western character actors. 2) A very young Slim Pickens has a wonderful role and proves himself the master horseback rider he was in real life. Great riding, great acting, and pure fun to watch. 3) The real surprise here for me was young Dickie Jones. What an absolute pleasure he was. And, in my opinion, he steals the movie away from all of the far more experienced and well-seasoned actors. He is genuine and earnest throughout, with a great monologue in the middle of the film that sucked me right in and made me believe. He was absolutely wonderful in the part and it's a shame he quit the business to go into real estate...I really think he might have had an Oscar in his future had he continued making movies.

This is not a perfect film by any means, but with strong performances, beautiful scenery, and interesting direction, this "John Ford Lite" Western has enough going for it to make up for any of its shortcomings. It's a real tough movie to find, but if you run across it, I sincerely believe it is worth a viewing.

Hope you enjoy!

Errol Flynn brings a world-weary look and an understated performance to this William Keighley directed Western. The film features several gifted horsemen Dickie Jones, Buzz Henry, Slim Pickens, Sheb Wooley and the legendary Yakima Canutt. It was the first film for both Pickens and Wooley who both became journeymen character actors.

It is also interesting to see Errol Flynn and Patrice Wymore (Mrs. Errol Flynn) work together in their only pairing on screen. The presence of Flynn's carousing companion Guinn "Big Boy" Williams also puts Flynn at ease in this role.

Rocky Mountain blends a Civil War chapter, rampaging Indians and a love triangle all in a solitary location shoot. One of the last black & white Westerns, it holds up well more than 50 years after it was filmed.

Errol Flynn's last western is a fine one. The story begins near the end of the Civil War. Confederate soldiers led by Flynn are sent to California to recruit more men. But that mission is sidetracked when the men spot a stagecoach under attack by Indians and rush to help. They soon find themselves stranded on Rocky Mountain, along with Union hostages, as they await an Indian assault.

This is a pretty underrated western. I didn't give it a chance for years simply because it was one of the movies made later in Errol Flynn's career and a lot of those depress me. It helps that this is in black & white, so the effects Flynn's lifestyle had taken on him aren't quite as noticeable as his color movies from the same period. It also helps that Flynn's character is supposed to be beaten down by the war. The movie has a simple story but it's told effectively with good performances and an elegiac quality about it that you might not expect. It's better than average for what is basically a cowboys vs Indians tale. Flynn's leading lady in this film, Patrice Wymore, would become his third and final wife in real life. It's a nice cast with some colorful characters actors like Guinn Williams, Howard Petrie, Chubby Johnson, Dickie Jones, and Slim Pickens in his film debut. Jones has a nice monologue about meeting Robert E. Lee. It's a fitting end to Errol Flynn's western career. Definitely one his fans will want to see.

Rocky Mountain is directed by William Keighley and written by Winston Miller and Alan Le May. It stars Errol Flynn, Patrice Wymore, Scott Forbes, Guinn Williams, Dick Jones, Howard Petrie and Slim Pickens. Music is by Max Steiner and cinematography by Ted McCord.

Tell you what's funny, I was all set to write the prologue to this film as an opener to the review. Taken from a marker that sits at the foot of the actual Rocky Mountain (AKA: Ghost Mountain), it tells us of the noble fact that forms the basis of the story - whist also telling us of the outcome! Couple this with a narration device by our Errol, then you have two rather annoying things that stop this from being high echelon Western film making. As it is, it's a great film regardless.

Plot has Flynn leading a small group of Confederates into California to hopefully curry favour from Cole Smith (Petrie). Smith has a considerable army of outlaws that the Southern Confederates could use in the hope of staving off defeat to the Union forces. Fate, circumstance and matters of honour are set to play their hands.

It was to be Errol Flynn's last Western venture, the last of his work in a genre he was not particularly fond of. How strange to find then that it's actually his best Western film performance. Paired with a director clearly able to tap into something more than being a flirtatious good looking hero, Flynn gives Captain Lafe Barstow a dignified elegance, becoming a leader of men of some considerable substance - and crucially he has screenwriters and producers willing to give us a sombre story.

Filmed out in New Mexico, the surrounds magnificent, it's brilliant how Keighley and McCord cloak the story in a claustrophobic aura. There's a sense of strife as a constant, even as heroic posturing asks us to thump the chest and shout rah rah rah. Flynn's men are a great bunch, lovable tough boy rogues each with their own fallible core, while the mystery element of Cole Smith's involvement in proceedings, and that of the looming Indian War, keeps the narrative interesting.

Wymore would soon become the next in line of Flynn's wives, but there's no hint of it here, the production team writing the characters apart in strong and believable fashion. Wymore's performance is merely ok, but it's not a token job and with so much machismo about it speaks volumes that Wymore and her character are welcome and crucial to the story's soul. Comic relief is kept to an absolute minimum, rightly so, the only jovial sightings here are that when the canine of the piece is in flight, where Steiner steps away from moody Civil War flavours for a bit of jolification.

It is however with the ending where the film could have died on its own sword or thrive, having asked us to invest greatly in Barstow's own - Magnificent Seven - Wild Bunch - The Professionals etc, we need to care about the outcome, to feel it. And we do. The action excites, the stunts and speedy set plays hold court, then the heroism and chest pushed out bravery of it all pays us off - capped off by a character order that tingles the senses as Steiner gives us a "Dixie" lament.

This may not have the bluster of Flynn's other more well known Westerns, and certainly it's not one to be picking up if one is after a mood lifter. It is however a must for those who believe those critics who even today still write of him being a plastic actor, because given the right director, the right material on the page, then Flynn had substance in his locker. It's also one for Western fans to seek out who want more than just your hooray glossy frontage. 8/10

"For it being 1950, I was stunned to find so many real and honest performances. There was none of that obnoxious "Studio Acting" where everyone is chewing scenery and pretending to be their character."

This was the comment of a previous reviewer. Anyone who is "stunned" to find good acting in a 1950 movie has probably not seen many movies from that period. As for "chewing scenery", I wonder if this person has ever paid attention when "method" icons like Dean, Brando, Cobb, Palance, and Penn are on screen. It's often a miracle there's any scenery left uneaten to finish the movie with!

"Rocky Mountain" is one of Flynn's better films (of many good ones), and as always, this underrated actor is real and natural. The movie is also of interest as the debut of noted character actor Slim Pickens. The story is gritty and dark, and the scenery and photography are spectacular. The ending is quite moving. This is a movie worth seeing.