Le Massacre de Fort-Apache

Owen Thursday is hardly impressed when his new command is the desolate Fort Apache, but resolves to make the best of it. When a group of Indians strike out from the local reserve led by warrior Cochise, Thursday sees the challenge as being key in winning back the military honour he feels has been denied him to date. However Captain York persuades him to allow York to go into Mexico to talk peace and convincing him to return to the US to broker a resolution – but will Thursday's obsession with honour and glory cause a bloodier ending? Interweaving this central plot with romantic and comic subplots makes a standard western into a much better one, even if it sometimes causes it to feel a bit slow. The story concerns an outlying post and the first half of the film lays down the characters, their relationships and who they are in ways that are interesting and produces a mix of funny moments and rather slower dramatic moments – all of them work as well as one another and it enriches the final section of the film. It is in this final third of the film where the action starts and it is rather dramatic and exciting; it also brings out a lot more of the subtext about the arrogant leadership of Thursday, based on the character traits that we have already had developed in him in regards his men and his daughter. It is made to look easy but the script does it well and even finishes with Ford's oft-touched assertion that the legend was often printed in favour of the less impressive truth – although it still has a salute to the serving men.

The cast are all pretty strong, although naturally the script favours the men, although having said that Temple is quite good if you can get past her "precious princess" performance. Fonda has the main role and manages to make his character convincing and arrogant at the same time – we never hate him so much as just see his failings. Wayne has a straighter role to play and he is as good as ever with it, although it is hardly the most challenging character I've seen him play. Agar is a bit stilted and unsure of himself – unsurprisingly his chemistry is good with Temple (they were married at the time) but it is the other parts where he appears overshadowed by the stronger male actors. Support is roundly good, particularly in the comic roles as filled by Bond, McLagen and some of the other NCO's. Direction is good, although I felt that the landscapes were "there" rather than being integrated into the fabric of the film.

Overall this is a worthy film. Perhaps not the best of the ford films but still an intelligent film that delivers the goods just like a standard western would, while also having good writing in the characters and subtexts. The cast are mainly good and the whole film feels professional and entertaining.

Director John Ford's first entry in his cavalry trilogy is this excellent film about life on a military outpost far from the glamorous theaters of the Indian Wars on the northern plains. The film touches on character development of the officers and enlisted men on the post, family relationships and the class distinctions among the military social order. Henry Fonda is great as a bitter, unhappy colonel who feels unappreciated by the military hierarchy and is displeased by his assignment to the isolated desert areas. John Wayne gives the film just the right balance as a captain who looks out for his men and knows Indians. Ford has his regular cast on board for the film, and John Agar and Shirley Temple handle the romantic clinches. The pace is slowed somewhat by comedy bits that add nothing to the film's substance. The black and white camera work is stunning and the music is reflective and melancholy.

This film captures all the magic found in classic Hollywood westerns, but it isn't just a western. This film is a war picture too. It also, has action, adventure, romance, a tiny bit of dancing and a little bit of comedy thrown in too. It bases itself off of historical source materials and situations, that took place around 1870. It has those classic ingredients that made it a popular sensation when it was first released in theaters in 1948. But, what makes this film different from all of those other films of its kind, was the sweeping camera-style of John Ford.

When you watch this film, it tends to give you the visuals needed, to prove to you, that this movie is way ahead of its time. Ford's use of his actors, his framing of the shots, his utilization of the terrain, as well as, the cloud patterns in the sky, along with excellent experience with black and white film, all make his films pop more than most of his other fellow filmmakers of the time. What's even crazier is he can get this effect out, even with standard 4:3 cameras. We need to remember, this was a pre-widescreen film and because of Ford's excellent compositions, you forget that it is in standard screen size.

This is an interesting casting job for Henry Fonda, who plays Lieutenant Colonel Owen Thursday, who through politics, is sent to a barren location in dangerous Apache territory, to take command of Fort Apache, a few years after the Civil War ended. It is a disrespectful demotion for him, so naturally he is a little bit sour about the whole thing, which translates to arrogance, when he has to deal with his new soldiers he has at his command. In his attempt to retrieve his glory days, he negatively rubs up against his subordinates, most notably, Captain Kirby York (John Wayne). York's experience and knowledge of the Apache Indians, their leader Cochise (Miguel Inclan), the surrounding area of the Apache territory and the rugged Arizona landscape, collides with Thursday's need to succeed.

At the same time, Thursday's daughter, Philadelphia (Shirley Temple), is stirring up things as well, falling in love with a young soldier, 2nd Lieutenant Michael Shannon O'Rourke (John Agar in his first film), which totally brings the stuffy arrogance out of Thursday. His disapproval is felt quite heavily in the plot and coming from the screen. Fonda gives a great, convincing performance, as the disgruntled Thursday, who needs to solve the problem with the Apaches, as well as, coming to terms with his daughter's future. He expels the arrogance and impudence from the screen, but also shows us his honorable, professional, polite side, that comes from the roots of his successes during the war.

There also are a number of other classic Hollywood actors, who do their part, to make this film the critical success it has enjoyed for the last 75 years. Names like, Ward Bond, Dick Foran and Grant Withers, just to name a few. If you are looking for a textbook John Ford movie, especially one in 4:3, this is the one to see. Hopefully, you are pleasantly tricked up too, when you realize, that this film isn't widescreen too, just like I was. It looks that good.

8.6 (B+ MyGrade) = 8 IMDB.

Lieutenant-Colonel Owen Thursday arrives at a frontier fort to take up his new command. His harsh, unbending philosophy of soldiering creates something of a stir in the regiment. His pretty daughter Philadelphia causes a rather different commotion.

The headstrong commander refuses to listen to the advice of his loyal captain, Kirby York, who knows frontier life and enjoys a rapport with the indian chiefs. The two officers are both strong characters, and their differing ideas inevitably lead to a clash.

Cochise and his braves are willing to accommodate the white man so long as their concerns are handled with diplomacy. Unfortunately, the high-handed approach of Lieutenant-Colonel Thursday cause relations to deteriorate, and conflict ensues.

In the course of the 1940's and 50's, director John Ford returned repeatedly to this subject-matter, John Wayne in Monument Valley with the US cavalry, fighting redskins and singing Irish folksongs. The stirring anthem in this movie is "The Girl I Left Behind Me", sung as the regiment rides out in full panoply to meet Cochise - although "She Wore A Yellow Ribbon" gets an airing, too.

The cavalry regiment itself is a protagonist in the story, regarded as a living entity by its members. When Captain York is promoted to Colonel and commands the regiment, he makes a powerful speech stressing the continuity and tradition which have made the regiment great. The sense of hierarchy is strong. This is a world of order in which army regulations govern even the way an officer presents his calling-card. Soldiers can quote the regulations by heart. This well-regulated military force will, we feel, impose civilisation on this wild frontier.

Examples of the regiment's rigid code keep recurring. The NCOs' dance has its own elaborate protocol, which not even Colonel Thursday dares to flout. Feelings over the O'Rourke marriage reach boiling-point, but everyone adheres to the rules of military courtesy. Washington's Birthday is celebrated as a regimental occasion. The Irish sergeants are all related by blood and marriage, and as their exuberant fraternal greetings subside, military discipline asserts itself effortlessly.

"I'm not a martinet," protests Colonel Thursday, the most extreme martinet imaginable. He is inflexible in his enforcement of the military code, and too stubborn and wrongheaded to listen to the advice of his officers, who are experienced frontier campaigners. He completely misses the presence of Cochise's war party because he has no combat experience and doesn't know to watch the skyline for dust clouds. In addition, Thursday is a terrible snob. He calls young Michael O'Rourke a 'savage' for a perceived laxity of discipline, and sets his face against the marriage of Michael and Philadelphia because of "the barrier between your class and mine". He is dismayed that the son of a sergeant should have passed through West Point, and needlessly offends Cochise by talking down to him.

And yet even Owen Thursday has a human side. We gather that there is some personal secret between him and Captain Collingwood, and we almost smile when the armchair collapses under him. Most tellingly, Thursday returns to the beleaguered redoubt after he has been rescued. He redeems himself by rejoining his soldiers in the thick of the fighting.

When young Philadelphia Thursday (Shirley Temple) studies Michael O'Rourke in her purse mirror, we know that these two will be the love interest. Also, as this incident illustrates, the womenfolk of Fort Apache tend to run the show in this masculine enclave. The Thursday residence is somewhat joyless, especially when compared with Aunt Emily's cosy quarters. The women brush aside the colonel's seniority and call in Mrs. O'Rourke to refurnish the place. In one of the film's good jokes, no fewer than eight Mrs. O'Rourkes answer the call. There is a touching scene when the regiment moves out and the women are left together. Mrs. Collingwood is torn, because her husband has his safe posting back east and needn't go into battle, but she knows how important it is for him to prove his courage. The womenfolk urge her to call him back, but she reluctantly allows him to ride out.

John Ford laced many of his films with Irish humour, and "Fort Apache" is no exception. The ubiquitous Victor McLaglen plays Sergeant Festus Mulcahy, and he and the O'Rourkes run the fort - that is, whenever they are not in the jailhouse on charges of drinking and brawling. Outrageously, Mulcahy promotes a raw recruit to corporal, simply because he's Irish. Quincannon virtually lives in the jailhouse, but he has a fine tenor voice, so he is released from custody in order to serenade the young lovers with his rendition of "Genevieve". When the dishonest trader Meacham has his whisky stock confiscated and marked for destruction, the sad faces of the sergeants make a comical picture, and the subsequent 'destruction' is even funnier.

Ford is a master of composition. York rides out to parley with Cochise and is engrossed in dialogue, leaving Thursday stranded and excluded. We hear the thunder of hooves offscreen before we see the charge, and its impact is magnified accordingly. In the sequence where York and Beaufort ride to negotiate with Cochise, the screen is filled with stunning images of rock and sky. The charging cavalry are cleverly 'lost' in their own dust, which closes behind them like a curtain, ending the scene.

Wayne is curiously subdued in this film. This is partly because he plays a conscientious subordinate, and partly because the confrontation with Fonda is eclipsed by other plot developments.

First entry in trilogy cavalry including glorification of military life , familiar drama , love and sentimental nostalgia with interesting character studio of a varied assortment of individuals . This is the initial outing in John Ford's trilogy cavalry continuing ¨ She wore a yellow ribbon¨ and ¨Rio Grande ¨ based on stories by James Warner Bellah . It's a first-rate Western masterfully directed by the great John Ford . This is a great Western drama, John Ford's lusty realization and a real classic . Commandant Owen ( Henry Fonda ) is a new and rigid Colonel who arrives along with his young daughter (Shirley Temple) in a fort nearly to Mexican frontier. Owen decides to do a name for himself by beginning a war with the Apaches Chiricaguas and Mezcaleros led by Cochise , against the advice of his two experienced captains ( John Wayne , George O'Brien ). Then the commandant of the far outpost - who has a difficult relationship to his underlings - leads a dangerous campaign against the Indians .

This classic picture ranks as one of the best of John Ford's work. It contains Ford's usual themes as familiar feeling , a little bit of enjoyable humor, a community decided to build the civilization on a virgin territory , friendship and and sense of comradeship among people . Furthermore , ample shots on cloudy and nebulous skies , prairies and mountains filmed at Monument Valley and Professor Valley. Interesting screenplay portraying in depth characters and brooding events with interesting issues running beneath script surface is written by Frank S. Nugent based on a story by James Warner Bellah , booth of whom are John Ford's habitual . Spectacular scenes when the Apaches Indian-Chiricagua and Mezcaleros-spontaneously attack the unit in its last stand .

This excellent film featuring a magnificent performance by whole casting . Awesome John Wayne in a larger-than-life character . Enticing and intimate Shirley Temple , Irene Rich , Anna Lee in sensible roles with sensational performances . Excellent co-starring cast , introducing John Agar - subsequently remembered as the lieutenant in 'she wore a yellow ribbon' , here his first main role . Good cinematography by William H. Clothier and Archie Stout reflecting splendidly marvelous outdoors from mythical Monument Valley , a place that Ford was often to revisit and he befriends Indians tribes . Emotive and vivid score by Richard Hageman based on traditional music ; it contains a wonderful song that is sung on some touching scenes among sweet glances of John Agar and Shirley Temple . In the movie appears all habitual Ford's friends as War Bond , Dick Foran ,Jack Pennick , Hank Worden , Grant Withers , Jack Pennick , Guy Keebe, Pedro Armendariz and , of course , the great Victor McLagen as grumpy sergeant in charge of training the new recruits . The movie is stunningly produced by Merian C Cooper - Argosy Pictures Production- and magnificently filmed by Ford with direction assistant by Cliff Lyons . Avoid a horrible version shown in computer-colored . Rating : Very good, better than average.