Le convoi des braves

This little picture succeeds where many a big picture fails. Because it was a little picture, John Ford was not harassed by the studio big wigs. He was happier with this film than any other because he was able to do it his way. He was also able to use his repertoire of gifted character actors that had played such an important role in his past successes. Some of them such as Ben Johnson had been discovered by Ford and given opportunity to show their talents. Johnson was recruited by Ford because he was an authentic cowboy from Oklahoma who usually did his own stunt work. Years later he would win the coveted Academy Award for his brilliant performance in "The Last Picture Show." Ward Bond even outshines Ben Johnson in this movie. He is not the wagon master, that role is played by Johnson, but because of this movie he was later given the role of wagon master in the classic television series "Wagon Train." Ironically one of the bad guys in "Wagon Master," James Arness, would star in the hit television series "Gunsmoke" on a rival network to "Wagon Train." Ward Bond plays the leader of the Mormons heading west who often backslides to his sinning days by cussing only to be called down by fellow Mormon Adam Perkins (Russell Simpson). When any bothersome situation arises Elder Wiggs (Ward Bond) yells, "Blow your horn, Sister Ledeyard!" The Mormon sister, played to perfection by Jane Darwell, then blows so hard and loud that even the devil must have been shaken by the sound. Darwell and Simpson were famous for playing Ma and Pa Joad in Ford's classic version of the John Steinbeck novel "The Grapes of Wrath."

Another of the great character actors in Ford's company was Hank Worden, who plays one of Uncle Shiloh Clegg's notoriously mean but not too bright outlaw sons. Worden would become famous a few years later for playing Mose in Ford's "The Searchers." Worden lived to be 91. He was still making movies when he died.

The wagon master Travis Blue (Ben Johnson) and his partner Sandy (Harry Carey Jr.) are horse traders who never take their job seriously, having a lot of fun along the way, especially with the local sheriff. They get mixed up with a Mormon wagon train heading west. Ford's beloved Monument Valley is the setting for most of the film. The main reason for the teaming is a redheaded Mormon beauty Prudence Perkins (Kathleen O'Malley) who catches Sandy's eye. Along the way the train picks up a hoochie coochie show which includes a charlatan doctor (Alan Mowbray) and two soiled angels (Joanne Dru and Ruth Clifford). Also joining up along the way is the Clegg family, wanted for murder and armed robbery. Ford shows how arduous a journey west by wagon was in those days.

The songs in the film were written by Stan Jones of the legendary Sons of the Pioneers. Jones' writing was almost as good as that of Bob Nolan, who had previously done much of the writing for the group. Jones' most famous song, not in this film, is the much recorded "Ghost Riders In The Sky." The Sons of the Pioneers do the background singing in "Wagon Master." This adds to the overall impact of wagons rolling west.

It should also be noted that the acclaimed Native American athlete Jim Thorpe from Oklahoma plays the role of a Navajo leader. This was his last film appearance. He died not long after "Wagon Master" was released.

In Crystal City, a group of Mormons hire the horse traders Travis (Ben Johnson) and Sandy (Harry Carey Jr.) as wagon masters to lead their caravan to San Juan River. Along the journey, they meet first the broken wagon without water of the quack Dr. A. Locksley Hall (Alan Mowbray) and the prostitutes Denver (Joanne Dru) and Fleuretty Phyffe (Ruth Clifford). Then the sadistic outlaws Clegg boys decide to join the Mormon caravan to disguise the patrol leaded by the Sheriff of Crystal City that is chasing them. When the Navajos cross their path, they are invited to visit their hamlet for a dancing party. When the wagon train is near to their destination, the Clegg boys threaten the settlers, forcing Sandy and Travis to take an attitude.

"Wagon Master" is another great western of John Ford. The sequences with the wagon train crossing the desert and the hills are impressive. The adventure of the group of Mormons is funny and very entertaining and the songs fit well to the plot despite being dated. My vote is eight.

Title (Brazil): "Caravana dos Bravos" ("Caravan of the Braves")

"One hundred years have come and gone since 1849"intone the Sons of the Pioneers over the titles of the movie ,thus establishing what we are about to see is a reminiscence of the days when the West was opened up.The movie is ballad heavy indeed,and could be seen as the movie that most precisely mirrors Ford's love of music,which is shown as a unifying force bringing communities together .Ford was to claim it was his favourite movie-one which,together with "The Fugitive"and "The Sun Shines Bright"saw him most accurately achieve what he set out to do It is an intimate epic whose episodic narrative focuses on the exploits of a Mormon wagon train leaving the inhospitable climes of the city to seek out the "promised land"near the San Juan River.They are guided by two horse traders,played by those dependable Ford repertory company members Ben Johnson and Harry Carry Jnr .Indians are encountered but ,uniquely for a wagon train movie they are friendly and there is no grand scale Indian attack.Instead the chief menace comes from an outlaw gang headed by the truly evil Uncle Silas(a mesmerising performance by Charles Kempson)and featuring rare unsympathetic roles from James Arness and Hank Worden.It is they who bring trouble on the train and menace its inhabitants.

The casting is perfect.Ford normally relied on iconographic peformers like Wayne ,Fonda or Stewart but by casting Johnson and Carry he chose the "right size"actors 'ones who are more able to suggest the decent ordinary men who will lay it on the line for the right cause and can persuade an audience they just might lose Good to see Alan Mowbray as an itinerant showman reprising the type of role he played so memorably in My Darling Clementine and Ward Bond as the worldly Mormon leader is fine.Only two problems for me with the movie-love interest in the form of Joanna Dru did not convince and I could not believe Mormons were as liberal as depicted here.Minor quibbles apart it is a beautiful movie with atmospheric monochrome photography and a love for the material and the era it celebrates shining through.Elsewhere on this site-its Message boards to be exact-Ford detractors have started their pettifogging sniping.I would like to think this movie would silence their iconoclastic jejeune ravings but probably not. Enjoy and wallow in its visual and emotional beauty

The Western can be divided into many sub-genres. One of the broadest divisions is that between Town Westerns and Plains Westerns. Most Westerns are a mix of both, but at one end of the spectrum you have pictures like High Noon and Rio Bravo that take place almost entirely in a settlement, seldom venturing out into the real outdoors. At the other end you have ones like Wagon Master, where there is barely a homestead on view amid the wilderness.

Director John Ford normally thrived on the "bit of both" Westerns, shooting the interiors with an emphasis on their being small and confined, and then contrasting this with the wide open exteriors, which appeared both exciting and dangerous. Wagon Master has a typical Frank Nugent script, with some interplay between seasoned oldsters and green youngsters, but still it presents Ford with some fresh challenges. In this picture, the dangers do not come from the harshness of the landscape, they come from within the group in the form of the Cleggses. What's more, the absence of real interior scenes means the outdoors could lose its impact over time.

However, Ford was a real maestro when it came to manipulating space. He shoots scenes of the camp or the wagons so the frame is surrounded and we get that same sense of enclosure as we would in a genuine interior. Also, compared to his other Westerns, he does not in fact open out the space too much, having the wagon trail wend its way through canyons and passes rather than cross the stark and empty plains. One of the few moments where he does throw the landscape wide open is when the Indians are spotted and there is the possibility of a threat from outside.

Wagon Master features some surprisingly effective moments of comic relief, and some great contributions from the quirky cast. Harry Carey Jr. was shaping up into a fine actor like his pa, and this is one of his better early roles. Joanne Dru was disappointing in She Wore a Yellow Ribbon, but she appears more at ease as a character with a bit of sass, and is actually fairly good here. Jane Darwell, who won an Oscar in the John Ford-directed Grapes of Wrath a decade earlier, appears here with sole function of performing a running gag in which she sounds a feeble old horn. Still, with her great timing and movement she makes the piece work. Francis Ford, in one of the many mute drunkard roles he played in his little brother's pictures, is at his cheeky best.

And now we come to lead man Ben Johnson. Although he was by no means a bad actor, he was never going to become a big star like John Wayne. And yet, with his effortless horsemanship and easygoing drawl, he was one of the most authentically "West" players around. And this brings me onto my final point. This was apparently one of Ford's personal favourites, despite it seeming fairly unassuming. Wagon Master has no grand theme or dramatic intensity, it is simply the genre playing itself out. I think this is what Ford loved about it. It's a picture for the Ben Johnsons and the Harry Carey Jrs, not the John Waynes or the Henry Fondas. Small in scope, but worthy in its class.

Although Ford's movie only really starts halfway through, once the traveling folk and the outlaws meet, the second half of the film is strong enough that the lengthy roundabout beginning is almost forgotten. The outlaws are plain stereotypes, painted very similar to the Clantons in 'My Darling Clementine', but the intense interactions between them and the traveling folk are worth watching for. Oddly enough, the depth of the film does not lie in the happenings between them but rather in the singing and dancing featured. Song and dance is shown as a uniting force between very different cultures, and the songs of the film are very well suited to the Old West atmosphere. The film is a mix of different things: there is a typical predictable love interest, awkward bits of humour, and of course men slinging guns. Then there is the plot of outlaws against the good guys and the almost non-related deeper ideas about bonding between different people. The overall product is rather strange and certainly not one of John Ford's strongest efforts. That said, it is good viewing once it gets going, and Ford captures the vast western landscape as well as one would expect.