A Estrada de Santa Fé

It's 1854. West Point is run by respected commandant Col. Robert E. Lee. Cadet Carl Rader brings in pamphlets from abolitionist John Brown leading to a fight among the cadets. Rader is dishonorably discharged by Lee after a fight with Jeb Stuart (Errol Flynn). Stuart and others are happy to be stationed in the toughest outpost. Stuart and Custer (Ronald Reagan) are sent to Fort Leavenworth in the Kansas Territory. On the train there, they're taken with 'Kit Carson' Holliday (Olivia de Havilland). Oliver Brown tries to smuggle Negroes out and is confronted. He escapes by shooting one of the bounty hunters. Everyone agrees that bloody Kansas needs to rid itself of the villainous abolitionist John Brown (Raymond Massey), father of Oliver.

This is a Bizarro world of yore where slavery is no big deal, abolitionists are villains, and people should simply let things be. The movie is definitely made in another era and serves as a time capsule for 1940 as much as for 1854. The rooting interest is against John Brown and the abolitionist, and for everybody especially slave-owing Stuart and flamboyant Custer in fighting against the revolutionaries. It's well made with plenty of action. The rooting interest is horribly tone-deaf in the modern sense. It is fascinating to see the old popular culture that is so different.

This is based around the story of one Jeb Stuart, a Southern born gent who would go on to become one of the South's greatest cavalrymen during the American Civil War. We follow his romance with sweetheart Kit Carson Holliday, his friendship with George Armstrong Custer, and onto his battles with abolitionist John Brown.

Though it's mostly agreed these days that Santa Fe Trail has no great historical worth, it is however still a decent movie that boasts great drama, a sweet romance, and no little amount of action. Knowingly directed by the astute Michael Curtiz and featuring the acting of Errol Flynn (dashing as Stuart), Olivia de Havilland (gutsy as Carson), Ronald Reagan (solid as Custer), and Raymond Massey (acting overdrive as Brown), the picture certainly holds up well on the technical front.

However, the relatively low rating on internet movie sites is of much interest to me, for being as I'm British I have no sort of conflict of interest with the actual story. Patriotic fervour booms out from the screen, but this appears to be at odds with the John Brown arc, the character's ambitions are nearly accepted as noble, creating a sort of odd coupling. I could of course be way off, but I wonder if the story doesn't sit well with some of our American friends?. Still the picture is never less than enjoyable, the great music from Max Steiner adds to the occasion and the finale is high reward for the viewers patience. 6.5/10

This is really shocking to see that this sort of propoganda was still made in 1940. It's impossible to enjoy this film "historical accuracy aside," because it's so obviously pro-slavery. The fact is we are not talking about whether the Winchester repeating rifle was really invented by 1850. The abolitionists are painted as violent, crazy, murderous people, "the reason why Kansas is called Bloody Kansas." Anyone who knows anything about this tragic period knows that pro-slavery forces were first to engage in murder and pillage. John Brown was notable because he was the first free-stater who started murdering back, and he made a campaign of it. After that, wholesale murder was found on both sides. THAT is why they called it "Bloody Kansas." What we see in the movie, however, is only John Brown's violence, time after time. We also see simple-minded black folks who would have been better off if John Brown hadn't made them free and responsible for feeding themselves. You can try and enjoy the story for itself, but the ugly and badly slanted arguments against abolitionists (and by extension against any reform of Jim Crow Laws in the 1940s) make it appalling viewing.

Santa Fe Trail may not be great filmmaking, but it succeeds in what it sets out to accomplish and is generally satisfying viewing. Errol Flynn stars as J.E.B. Stuart, fresh out of West Point and now stationed at Fort Leavenworth in the Kansas territory, the starting point of the westward Santa Fe Trail. This was particularly hazardous country at the time, because abolitionist John Brown (Raymond Massey) was conducting violent raids along the trail. It quickly becomes the duty of Stuart and his pal Custer (Ronald Reagan) to capture Brown dead or alive, and put and end to his attacks.

There are many exciting sequences in the film, leading up to the final confrontation at Harper's Ferry. There's also a predictable romantic triangle between Flynn, Reagan and Olivia de Havilland. (Guess which one she picks!) The movie deserves credit for taking an objective viewpoint toward Brown, acknowledging that his motives were good even if his methods were not.

As Stuart, Flynn proves to be equally adroit in westerns as in swashbucklers. Reagan and de Havilland fill their less demanding roles with ease, and Alan Hale and Guinn `Big Boy' Williams provide much-needed comic relief. Massey somewhat overplays his hand as Brown, however. He comes off as too sanctimonious, more a cliché villain than a three-dimensional human being.

Apparently, the film is a travesty in terms of historical accuracy. Who cares? Movies are an entertainment medium. Anyone seeking facts alone had better confine their search to encyclopedias. Otherwise, just sit back and be amused.

"Santa Fe Trail", a 1940 film that brought a number of rising stars together, mixes gross distortion of history with an unusual, compelling and honest confrontation with the age of slavery.

Hollywood's uses (and, more often, abuses) of history fascinate me. Some films try to stick close to accounts generally accepted while others openly employ characters from real life as a launch point for stories that have little to do with actual events (hey, if Shakespeare could do it...). Many films blend fiction with fact and, usually, they serve neither well.

Director Michael Curtiz's "Santa Fe Trail" is part western, part military history, part comedic romance. Olivia de Havilland, fresh from her "Gone With the Wind" adventure, plays a frontier girl with spunk - and an ability to keep her clothes clean almost always, no matter what. She is pursued by two young army lieutenants, the soon to be legendary Confederate cavalry office, J.E.B. Stuart (Errol Flynn), and the eventually to be killed with his entire command George A. Custer (Ronald Reagan sans Bonzo). The rival suitors are typically 1940s romantics - no unfair or nasty stuff here. So sweet is the path to nuptial bliss.

The story takes place before the Civil War when the Army tried to maintain peace between pro- and anti-slavery factions in Bloody Kansas. The army officers who actually are part of history are portrayed here as being all members of the West Point Class of 1854-that would make Custer about seven years younger and earlier in graduating than was the case). No big deal.

What makes this film a remarkable document is its unflinching, for the Hollywood of the 1940s, portrayal of the evil of slavery, the pain of blacks ensnared in its web and the thundering role of John Brown, played by Raymond Massey in a powerful, gripping performance.

John Brown, the abolitionist who in life and in the film murdered slavery supporters and seized the federal arsenal at Harper's Ferry, Virginia was a zealot, not a madman (he refused an opportunity to plead insanity at the trial which ended in his death sentence). Massey, one of the greatest actors of all time, captures Brown's total devotion to ending slavery - he projects passion, not psychosis. It seems to me that Massey had a picture of John Brown that he was determined to bring to life, the inane or frivolous parts of the film being totally irrelevant to his mission.

Hollywood before World War II generally treated blacks as minor props (waiters, Pullman car attendants, cooks and maids). Here a black family is traumatized by truly sinister racists. Brown's condemnations of slavery are taken from his speeches and writings. The film's producer and director and script writers took a major detour from the concerted Tinseltown effort to not produce any story that might cut into box office take in the South (and elsewhere-the North was no hotbed of campaigns for racial equality).

Worth seeing because of its unique take on slavery, for the time, and Raymond Massey's towering performance.

8/10.