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This film is the second entry in John Ford's "cavalry trilogy" and may be the best of the three with John Wayne's performance being one of the best of his career. The picture is an ode to the U.S. cavalry in the wake of the Custer debacle with the threat of more Indian uprisings on the frontier. Wayne's escort patrol is the film's focal point which also has an on-going romantic squabble between two young officers and a woman which explains the movie's title. The wonderful lensing captures the natural beauty of Monument Valley, and the scenes of the patrol crossing the wide expanses during a thunderstorm with lightning streaks against the dark clouds are among the picture's best moments. Ben Johnson stands out as an ex-Confederate soldier and point man and other Ford stock regulars such as Harry Carey Jr. and John Agar have supporting roles.

The second instalment of the acclaimed John Ford cavalry trilogy had a lot to live up to after Fort Apache (1948). So it may not be too controversial to state that "Yellow Ribbon" doesn't quite achieve the potential promise that Fort Apache's foundation building had provided. However, here is still a mighty Western of many joys.

The lead theme here is the passing of time, of time and love lost, lest we forget indeed. These themes give the film a strong emotional heartbeat from which to work from - even if on proviso it's noted that elsewhere there is not much in the way of an adrenalin pumping action extravaganza. Accepting it as an affecting character piece is something of a requisite if you want to get the most out of the viewing experience, and of course simultaneously getting wrapped up in the gifted art of film making in the process.

John Wayne gives a top notch performance in what is obviously one of the first out and out serious roles that Ford gave him. His ageing Captain Nathan Brittles requires him to put in a very fallible human type of performance, something that he achieves in spades. He's a believable leader who is ruing the calling of time on his career in the service. Yet even Wayne's affecting turn is trumped by some of the most gorgeous cinematography you could wish to see from the 1940s.

Winton Hoch clashed with Ford on the shoot about various perfections (both parties equally to blame of course), but the final result is incredible. Witness a scene as Brittles visits his dead wife's grave, the backdrop is all purple and red, a storm is imminent, metaphorically and in reality. Has shooting in the desert ever been so colourfully lush? The locations are breath takingly brought to vivid life, Monument Valley in all its glory.

Picture leaves an indelible mark on the conscious for the art and performances (Joanne Dru, Ben Johnson, Victor McLaglen & Harry Carey Jr bring their "A" game), but temper that slightly for as a story it just about gets by for dramatic purpose. Yet of course John Ford knows his onions and structures it accordingly, bringing precision and a genuine love of the genre and the material to hand. 8/10

This attractive movie scripted by Frank Nugent is the second episode in prestigious cavalry trilogy , united to first , ¨Fort Apache¨ and following , ¨Rio Grande¨ . It deals with an ageing officer named Nathan Brittles (Wayne's greatest role as an Indian fighting Captain) and a sergeant (a sympathetic Victor McLagen) about retirement , attempting to custody the outpost commander's(George O'Brien) wife (top-notch Mildred Natwick) and daughter (gorgeous Joanne Dru) and drive and repel Indians off lands . Meanwhile , she's lured by two suitors (John Agar and Harry Carey Jr) wearing a yellow ribbon .

This extraordinary film packs melancholy , good feeling , friendship, comedy and marvelous outdoors . Furthermore, the usual comic relief in charge of Victor McLagen as a drunken sergeant . The movie contains usual Ford's themes , such as unlovable camaraderie , emotionalism with nostalgic longing for old values , as the family and tradition . Besides, there appear notorious secondary actors , Ford's usual , as Ben Johnson , Jack Pennick , Francis Ford , Paul Fix , among others. Winton C Hoch's impressive colour cinematography in stunning Technicolor , which deservedly won an Academy Award , reflecting splendidly the wide open spaces filmed in Monument Valley , Ford's penchant for location work . Winton Hoch assisted by cameraman Charles Boyle shot natural storms with real lightning and thunders while the groups of soldiers go riding . Emotive and patriotic musical score with classics ballads by Richard Hageman . The motion picture was wonderfully directed by the master Ford . Rating : magnificent movie , it is an unforgettable and unchallenged classic movie .

and he has easily seen it over 200 times. He got me hooked on it when I was a young girl by pointing out all the gentle humor and the repeated comedic bits that separate it from many other westerns. I still love it for those reasons and more.

"Yellow Ribbon" is not John Ford's best movie, but it may be John Wayne's. Capt. Brittles is -- needless to say -- the antithesis of Henry Fonda's Col. Thursday in "Fort Apache." When the film opens, it is obvious Capt. Brittles has earned the respect of his troops and won their loyalty, and by the fade-out they have come to love him like devoted sons.

For someone who was allegedly so difficult to work with, John Ford put together a truly remarkable stock company of actors and technical personnel. They appeared in his films time and again, and there was more or less a core group of professionals on screen and off that gave all of Ford's westerns color, excitement and realism. But "Yellow Ribbon" has something less expected: warmth. And there's not a thing wrong with that.

"She Wore A Yellow Ribbon" is also arguably the most sentimental movie John Ford ever made, and there's nothing wrong with that, either.

One of the best written westerns and an Oscar winner for cinematography, this John Ford western, some 10 years after Stagecoach, shows a different side of Wayne.

It is the middle film in John Ford's (and actor John Wayne's) U.S. Cavalry trilogy, which includes Fort Apache (1948) & Rio Grande (1950. It is the best of the three as we see Wayne, just short of retirement, trying to mature a couple of Lieutenant's to take his place.

Comic relief is provided by Victor McLaglen, as Top Sergeant Quincannon, especially where he single-handedly whips eight men between drinks. His presence can certainly light up a movie.