Il fiume rosso

Fourteen years ago Thomas Dunson entered Texas across Red River with two head of cattle, his trail hand, and a young boy, Matt Garth, who survived an Indian attack on a wagon train that killed Dunson's sweetheart. After years of development he is now head of a ranch and is preparing to drive his head of thousands of cattle up to Missouri for sale, despite the perils. However Dunson's brutal leadership style bucks up against the more peaceful Matt, leading to a rebellion and a splitting of the ways between Dunson and his adopted son.

With an early scene establishing both Dunson's methods (taking land by force) and the source of much of his future bitterness and rage, this film sets itself out to be a real good character piece and pretty much manages to do it. The plot sweeps across 14 years but doesn't suffer for it. The main plot device is the cattle drive, which is depicted with affection here, however the main story is the conflict between Dunson and Matt's methods and views on man management. This aspect is not given quite as much time as I had hoped and tends to be over shadowed by the scale of the cattle drive itself – however this is still good.

The weakest point here is the romance which feels tacked on at the end. Not only does it feel unnecessary but it doesn't really work very well either. To make matters worse – when the conflict between Dunson and Matt manifests itself physically, it is devalued by the involvement of Tess somewhat. Wayne's leading man is strong and is a good performance considering how unpopular he is as a character. Clift gives a balanced performance and stands up well alongside the Duke. The support cast is full of western favourites and does well to fill the story out with colour, comic relief from Brennan's chuck wagon driver is great fun.

Overall this is a good western that I felt didn't quite reach it's full potential as a film. It could have gone further with the battle of wills between the characters but instead the cattle drive takes the lion's share of screen time. Having said that, there is still plenty to enjoy with both the character clashes and the perils of the cattle drive itself.

I read quite a few references to the ending and how it should have been an "unhappy " one. The screenwriter, Borden Chase, was also very unhappy with it. The original ending was The Duke's death. Hawks changed the ending and Chase never spoke to him again. Mr. Chase was married in 1920 to my Grandmother, Lillian Doran. But, that is another story!

Wo aspects that make the film tick: the handling of the large number of cattle and Montgomery Clift. Otherwise the film is ordinary putting some history in focus: the Chisholm trail, the railroad, Texas as a beef state, and Abilene.

You don't have to use up too much of your imagination to get into and to appreciate this Epic, Howard Hawks does a manificent job in bringing to us a story that depicts the strengths ( and weaknesses ) of early pioneers in the American West. In Red River, Hawks clearly makes us aware of the hardships and loneliness settlers experienced doing their thing, particularly on cattle drives. John Wayne, as always in his element astride a horse, does a great job portraying the single minded cattle Baron Tom Dunson. He looked comfortable in the role with all his regulars like Harry Carey Snr. and Jnr,.Hank Worden and Walter Brennan around him and, along with Hawks is responsible for the Movie being as good as it is. You could almost taste the dust and sweat as Dunson bullies his way along the cattle drive, ignoring advice, doing what a man has to do and saying often, ' I'll read over them in the mornin ', then, being left in the dust himself after his men and his adopted son Matthew Garth...... played by Mongomery Clift.... decide they've had enough. We always knew they'd meet up with each other again, and when they did....what a showdown! Dunson catches up with them in Abeline, gets off his horse when he sees Garth and bullies his way again, this time through a herd of cattle to get to him. That walk Wayne makes amongst the cows is a classic. For a big guy he's got a lot of balance, never losing his stride as he forces his way through the herd, turns, draws and fires at Cherry Valance....played by another resident bad guy of the era, John Ireland....gets hit with a bullet from Valance, crosses the railway track then proceeds to beat up on the only man game enough to stand up to him, and in the process gets a bit of a pasting himself. Fantastic stuff!! Both Clift and Brennan, who played Dunson's old friend Groot Nadine give fine supporting roles, particularly Brennan with his excellent narrative throughout the Movie. Made in 1948, Red River is a great Western and perhaps had much to do in setting standards for others to follow.

Dimitri Tiomkin's thunderous score sets the tone for this rousing story of cowboy ranchers in nineteenth century Texas headed north, with a thunderous herd of cattle in tow. It's the archetypal story of the American West, with its strong, ethical male leader, Thomas Dunson (John Wayne), and his pursuit of a big dream, set in an era when men were men, times were tough, hardships were inevitable, guns ruled, and Native Americans were the bad guys. What a saga ...

What makes "Red River" such a grand adventure is its high quality. Its story is simple, direct, exciting, and well told, with complex characters, interesting and sympathetic because they show weakness as well as strength. Dunson is a good man, but he's stubborn and headstrong. His semi-adopted son, Matt (Montgomery Clift), is good with a gun but a little softhearted. Dunson's chief sidekick is Groot (Walter Brennan), a cantankerous old buzzard who has problems with his teeth.

It's the relationship between these three men that is the heart and soul of "Red River". Trouble ensues along the way, you can be sure. And how that trouble unfolds and plays out presents viewers with engaging human drama, and humor, centered on these three main characters. The lonesome High Plains, with all its inherent risks, adds grandeur to the epic story.

At strategic points in the film, the page of a book appears on screen with text that briefly summarizes upcoming events. It's like we, the viewers, are reading a book about some long ago trailblazers. It's a technique that could have been intrusive. But here, it is handled with such finesse that it actually helps the narrative, by functioning as a transition from one sequence to the next.

The acting is fine. John Wayne is more than convincing as Dunson. Walter Brennan is characteristically funny. And Montgomery Clift is terrific. Had he maintained his looks, and if real-life circumstances not intervened, Monty could have been one of the truly top actors through at least the 50s and 60s.

If the film has a weakness, it might be the cinematography. Not often, but at times, the actors appear to be standing in front of a canvas, an effect that renders a shallow depth of field. Maybe this was the result of technical limitations of photography at the time the film was made.

There are few film westerns that can compare in quality with "Red River". And I don't know of any other cinematic cattle drives that are this good. So, the next time you herd your cattle to market, this is the film to watch. Even if you have no cattle, "Red River" is still a wonderfully entertaining cinematic experience.