Le fort de la vengeance

It is several months after the end of the civil war, and Ben Shelby (Ben Johnson) shows up at the Tallon Ranch to kill John Tallon (Dane Clark). Tallon had given himself up to the confederates just before the war ended and this led to a company of the Arizona volunteers being wiped out, Ben's brother among them. He meets John's young, blind brother Ned (Peter Graves) and Uncle Charlie. John is not around and Ben ,saying he knows John from the war, decides to wait for him. A problem comes up when he gets very close and Ned and Uncle Charlie. John has become a bank robber and a killer which Uncle Charlie has kept from Ned and asks Ben to also keep the secret because Ned worships his brother who supposedly was a war hero. Word finally reaches them that John is dead and Uncle Charlie and Ben have to tell Ned.

There are additional problems. The Indians find out they are going to be moved to Oklahoma, don't like the idea and go on the warpath. Local land baron Dave Parker, who also lost brothers in the Arizona volunteers, finds out about John Tallon's act of cowardice and wants all Tallon's dead. This is just an excuse to get their ranch.

AS you might guess. John Tallon finally shows up, but he is not the coward and killer you might expect, and Ben, besides fighting Dave Parker and the Indians, must face the possibility of killing a close friend's brother This is not exactly a B western. It was shot in New Mexico, has a cast of superb actors, more plot than there is in two current films( actually a plot worth of a major film) and complex, conflicted characters. I saw this film when I was very young and found out recently that it has not aged. It is well worth tracking down and watching. A very good sleeper

There is a problem with the color. The film was shot in Cinecolor, and it is just not as good as Technncolor of even Eastman color.The colors fade and blues and greens are lost. This film deserves a restoration.

If you can get past Brooklyn born Dane Clark as a two gun Arizona outlaw, this is an entertaining picture. Ben Johnson plays a man bent on revenge who softens to his intended victim's family, and Peter Graves is very good as the brother of the man Johnson wants to kill. This may be the best Cinecolor film made, as the color, although brash, doesn't waver as many others do. For me, Clark was the weak point; although he does well the script doesn't make him very believable, waving his two guns all over the place and never missing his target. It's also hard to believe he could last more than thirty seconds in a fistfight with Johnson. The secondary cast is quite good, with Goerge Cleveland as a hot headed but understanding uncle, and Ralph Sanford as a cantankerous stage driver. It's certainly worth a ninety minute view time, if you have popcorn and a drink.

'Ft. Defiance' is a B-movie western that in terms of story is quite a cut above the typical Saturday matinée fare. But, this is a description of the Cinecolor process it was shot in.

3-strip Technicolor was the first technically viable, full color film process commercially available to the U.S. film industry. Although technically elaborate and expensive, for about a 15 year period (ca. 1935-50) it was also the only full color process available (Kodachrome, a reversal process yielding a positive image from the camera stock, was not regarded as suitable for studio film production).

During Technicolor's reign there were a number of alternative low-budget color film processes based on the 2-color principle of color reproduction. Although 3 primary colors are required to obtain a full color gamut, a surprisingly natural-looking color image can be achieved by using only 2 primary colors, basically, a warm primary and a cool primary.

Instead of dividing the spectrum into 3 bands (red, green, blue), it is split into 2 regions, representing the warm colors (red, orange, yellow) and the cool colors (green, blue, violet). In the photography, red and green color separation filters are used to obtain the 2 primary color images. Because of the technical complexity of full 3-color requirements, the first successful color motion picture processes (Kinemacolor and others) from the 1910's onward, were 2- color processes. Technicolor started out as a 2-color process itself.

As with other 2-color processes (Trucolor being its main competitor) the Cinecolor process used Mitchell cameras adapted for bi-pack filming where 2 rolls of film are run through the camera simultaneously. The camera's magazines had 4 chambers, 2 feed and 2 take-up. Each roll of black & white film captured one of the 2 'primary' images.

A Cinecolor film print contained 2 primary color images, a reddish-orange and a cyan, printed on opposite sides of the film base. In making splices, the projectionist had to scrape emulsion off BOTH sides of the film so the cement could form a proper bond. Focus was achieved by focusing at the center of the film base as a compromise (instead of on the emulsion).

When Kodak and other companies introduced single-strip negative-positive color film systems around 1950 -- which meant that standard production cameras could be used for full- color filming without special adaptations or apparatus -- the raison d'etre for 2-color systems was eliminated, with 'Ft. Defiance' being among the last of its kind. 3-strip Technicolor itself survived only a few more years as a production process, although the lab continued providing imbibition film prints to the industry for more than a decade afterwards.

Like other 2-color processes, Cinecolor suffered from a limited palette, where bright greens, yellows, and purples were not achievable. Most other colors could be represented with fairly reasonable approximations. It also suffered from a bit of variability in color densities. Nevertheless, it was the most natural looking of all the 2-color processes.

Considering its 2-color limitations, what's remarkable about Cinecolor is how natural-looking it could be.

Some other 2-color Cinecolor titles are: Black Gold (1947) Albuquerque (1948) Strawberry Roan (1948) Flight to Mars (1951) Flat Top (1952) .

For a fitfully simple b-western, FORT DEFIANCE has the most complicated case of post Civil War revenge, twofold: first there's Ben Johnson, who becomes a ranch-hand working for blind, extremely trustworthy Peter Graves, and secretly wants to kill Peter's older brother for backing out of one of the last battles... and then an entire posse wants both brothers dead...

Enter first-billed Dan Clark, extremely anticipated through expository dialogue, thirty-five minutes in, as his brother and new best friend are cornered by Indians in a cornering canyon, led by legendary faker Iron Eyes Cody...

There would be far more suspense along with anticipating tribal drums if the low-budget use of day-for-night... filming darkly in daylight masquerade a brightly moonlit night... wasn't so obvious... but the introduction of heart-of-gold-hooker Tracey Roberts, who even blind Peter Graves knows is pretty and genuine, adds some needed dimension: but what matters most takes place in the third act, after sunrise...

When Dane Clark, usually a kind of poor man's George Raft, really stands out, playing the heck out of the villainous yet faithfully-dependable scoundrel in what's an 11th hour crash-course of the ambiguous gunfighter persona... making you forget that most of the film's buildup didn't have him around at all.

It's just after the Civil War and Ben Shelby arrives looking for Johnny Tallon whom he plans to kill. Shelby was the only survivor of a battle due to the cowardice of Tallon. Thinking Tallon dead, another man who lost a brother at the same battle arrives to kill Tallon's blind brother. Tallon arrives to find Shelby and his brother fleeing. Then they are attacked by Indians and Shelby and Tallon must now fight together postponing the inevitable showdown.

Fort Defiance is an enjoyable western, due to the good performances, direction, cinematography and a tense, yet quiet atmosphere, and exciting blazing action as Shelby and the Tallons square off against vengeful white men and their Native American neighbors. Loved Dane Clark's witty comeback and his fast guns. Ben Johnson is excellent as always, but I reckon Peter Graves steals the scene as a blind man. The first half is slightly plodding, but picks up when the villainous Ned Parker and his gunnies turn up. It's then uphill all the way.