Custer eroe del West

Handsome but dull western (courtesy of Spanish landscapes) to depict Custer on a mission to steal land from the Indians. A blond ROBERT SHAW looks convincing enough on horseback but something about his accent seems wrong and charisma is lacking. The Indians look more European than like American Indians and too many of the action scenes are slow paced and repetitive as Custer and his men go on various missions.

MARY URE as his wife, Libby, has little to do but register impatience with being kept in the background between battles with long waits before she shares the screen with real-life hubby, ROBERT SHAW. A more mature looking JEFFREY HUNTER (sporting gray hairs) is Will Benteen, one of Custer's more loyal officers.

The mountainous plains in Spain are no substitute for our standard glimpses of John Ford territory with not a single shot looking as though photographed in the American West. But it's the dull storyline that defeats the movie from ever becoming anything more than a series of handsomely photographed outdoor sequences. A surprise Indian attack by the Cheyennes on an Indepdence Day Celebration is one of the more colorful moments and triggers Custer's determination to fight the redskins, no matter that they greatly outnumber his men.

Nothing in Shaw's performance suggests the color and vigor of Custer's bigger than life personality nor does the screenplay do any real justice to the man or the myth. As storytelling goes, the first half of the film manages to be just plain dull and the film only picks up speed as it nears the climactic fight at Little Big Horn.

Battle skirmishes with Indians are, on the whole, well staged and full of furious gunsmoke and flying arrows--but the big set piece is saved, of course, for the finale which comes too late to save the first half of the film from the doldrums. One is left with the impression that some inventive fictionalizing would have helped (as it did with THEY DIED WITH THEIR BOOTS ON).

Summing up: A very miscast Shaw plays Custer as a snarling villain who barks orders and the story has a plodding script. Could have been much more impressive if filmed in the U.S. on more realistic locales with more accurate casting. A cameo by ROBERT RYAN is no help at all.

Okay gang, this is a deeply flawed Custer movie. There is no getting away from that. Yet, if you have any interest at all in the Custer legend (notice I said legend - any relationship to real history and this movie is purely coincidental), and want to see a riveting performance by Robert Shaw, complete with an absurd English accent for Custer, this is a must see movie.

Besides the imaginary history, the geographical locations presented for the story exist only in the minds of the screen writer and director. Despite this, I could not get over how much I liked watching Shaw present his interpretation of Custer. For all the weaknesses in the script, Shaw was given some great speeches to make, demonstrating the tragedy of plains Indians. No matter how ugly the near genocide of them as a people and the total genocide of their culture, and there is no excuse for any of it, they were the victims of events that were pre-determined once Europeans set foot on North America. A point perfectly captured in the movie in the confrontation between Custer and an American actor posing as a representative Indian chief.

For myself, the worst part of the movie, which I was enjoying up to this point, was the Last Stand. Who cares whether it was accurate or not. When was the last time Hollywood ever made any movie about any historical event or person that was not clearly fiction in many aspects? What bothered me, was the fact it was done on the cheap. Custer had around 260 men with him, in the movie, he might have about 50. There is just no drama in watching a big action sequence that falls flat because you were not willing to hire more extras.

Still, I guess this movie is one of my guilty pleasures. If you like action movies or Robert Shaw, give it a look.

RELEASED IN 1967 and directed by Robert Siodmak, "Custer of the West" is a French/Spanish/American production starring Robert Shaw as the titular hero who becomes the youngest general in the Civil War at 23 and then goes on to fight in the Indian Wars of the northern plains, eventually dying at the Battle of Little Bighorn at the age of 36. Mary Ure plays Custer's wife while Ty Hardin and Jeffrey Hunter play his subordinates Major Reno and Capt. Benteen. Lawrence Tierney is on hand as Gen. Sheridan.

"Custer of the West" both stresses the mistreatment of the plain's Indians by the U.S. and portrays Custer as a tragic American hero who was a puppet of government policy. The film is usually lambasted for its inaccuracies, particularly its depiction of the closing battle. For instance, in real-life Custer's soldiers surprised the Native encampment, they didn't ride up and dialogue with the waiting Indians; moreover, the battle was a chaotic one, moving toward Last Stand Hill. Yet it's not like previous films were any more accurate, e.g. "They Died with Their Boots On" (1941), but audiences apparently demanded more accuracy by the late 60s.

Regardless, the gist of events is true: Reno and Benteen were real-life subordinate officers at odds with Custer and reportedly failed him on the day of battle, although they supposedly had justified cause. If I were Benteen, I would've probably done what he did in the face of Custer's glory-hound rashness and a formidable foe: Dig in, face the enemy, and survive to fight another day. In any case, if you want historical accuracy (to a point) see "Son of the Morning Star" (1991).

The main problem I have with this movie are the Spanish locations substituting for Virginia, the Dakotas and Montana. Fortunately, the creators at least tried to find a setting with trees for Virginia and some of the locations they used for Dakota/Montana occasionally work (just occasionally). But there's a long desert sequence when nothing of the sort exists in the region. You'd have to go far south to New Mexico/Arizona or way further west to eastern Washington to find such deserts. Yet it could be argued that the desert sequence is substituting for the Badlands of the Western Dakotas, which is certainly desert-like.

If you can ignore the disingenuous topographies, there's a lot to appreciate in "Custer of the West." But the film's overlong and bogged down by tedious or useless sequences, like the capture/imprisonment of Sgt. Mulligan (Robert Ryan). But there are some gems, like when Dull Knife (Kieron Moore) pays Custer a visit at the fort (which in real life didn't have a timber stockade). Custer bluntly conveys to the Chief the simple (awful) truth about conquerors and those they conquer: "The problem is precisely the same as when you Cheyenne decided to take another tribe's hunting ground. You didn't ask them about their rights. You didn't care if they had been there a thousand years. You just had more men and more horses. You destroyed them in battle. You took what you wanted and, right or wrong, for better or worse, that is the way things seem to get done. That's history."

FYI: Deviating from the original script, Robert Shaw made the character of Custer over to suit himself, turning him into a "sadist of Shakespearean depth." He also directed the battle scenes with Siodmak staging everything else.

THE MOVIE RUNS 2 hours 21 minutes and was mostly shot 30 miles from Madrid, Spain, except for the Battle of Little Bighorn which was filmed in Costa del Sol near Almira. WRITERS: Bernard Gordon and Julian Zimet with additional work by Shaw.

GRADE: C

This is actually a sad movie. I will not mention the end for fear of including a "spoiler", but also I cannot imagine that most American viewers would not already know how it ends.

Though I live overseas now I grew up in the United States in the 1960s (in fact, I still retain my U.S. citizenship). Some of the lines in this 1967 movie are, in fact, anachronisms (they were not in the language in the 1860s or 1870s when this movie was set). The phrase that one U.S. soldier was worth (in combat) 10 Indians was a takeoff on the phrase used at that time in the Vietnam War concerning the kill ratio. Also, the term that General Sheridan used, "Bleeding hearts" comes from the 1960s; not the 1860s. The director of this movie was obviously comparing the moral problems we felt with Vietnam with the same problems the U.S. felt during the Indian Wars a century before. I did not know, of course, any Indian War veterans, but I did know two good men who went to Vietnam and did not come back alive.

Also tearful is the real life love you detect between George and Libby Custer that is portrayed by the real life married couple of Robert Shaw and Mary Ure. Six children between them. She died about ten years later from an accidental overdose of alcohol mixed with sleeping pills. He was so heartbroken that he died a few years later literally of a broken heart.

It is still a magnificent film. The western scenes are indigenous to that part of the United States that it is actually a shock to find out they were filmed not in South Dakota, California, Nevada, Kansas,etc. but rather in Spain!!

Robert Shaw plays the inimitable General George Custer, portraying him here as a statesman, a man of integrity, humility and at times, sympathy. His respect for Chief Dull Knife (Moore) is evident in the manner in which he addresses his foe, but the depth of his jingoist patriotism is equally apparent as he almost laments "you are a militarily defeated people". He does this again, rebuking Robert Ryan's desperate bid for clemency after he's sentenced to death for desertion. "I've got to have new facts" he pleads. Of course Ryan has no rebuttal. Shaw delivers a complex characterisation, one that opens further each time you watch.

The accent employed by Shaw is sometimes distracting, but it's not the liability some complain. Supporting performances are played with conviction, particularly Ty Hardin as the boozing Major, who finds Custer's work ethic an unwelcome interruption to his inertia, and Jeffrey Hunter as an Injun-sympathiser, the teacher drafted into the cavalry, looking for some semblance of moral justice amid the chaos. Needless to say, he resigns to futility, as does Custer in his final stand at Little Big Horn.

Perhaps the most revealing character trait chosen by Shaw in this interpretation, is his tendency to seek advice from his wife (Ure). Often absorbed by immense self doubt and political pressure, Ure is his constant sounding board. While this edge gives Shaw's Custer an interesting new dimension to an otherwise wholly glorified character in the movies to this point, it does largely waste Ure's talents as she rocks, knits and conjures pearls of wisdom for her conflicted husband to ponder. More liberty (e.g. removing the superfluous congress speech, the log-ride scene or the bizarre musical) with the guillotine could have cut 20-30 minutes off this epic tale, which is often paralysed by lengthy passages of dialogue and irrelevant plot diversions. Overall, while it certainly improves with each viewing, it's perhaps irrevocably flawed and overlong.