La bataille de la vallée du diable

A bloody, brutal Western where the action never stops.

First, the Bad (let's get that out of the way). Like all Westerns, the plot has its flaws -- with an Indian war party off the reservation they would not have sent a shipment of ammunition through a narrow canyon guarded by only one squad of green recruits on unbroken/partly saddle broken horses. But so what? In the classic Western Stagecoach the Indians would have shot the horses pulling the stage and then finished off the passengers as opposed to shooting at the people in the coach. Also, Sidney Poitier's silver vest remains immaculate throughout the long desert journey and several pitched battles.

However, the movie moves so fast that you never really have time to stop and remind yourself that you have to "suspend disbelief" to watch it.

Next, the Good. On one level, it's a classic cavalry vs. Indians story. But viewed through a different lens than in earlier Westerns; the Indians are shown with some perspective, if not total sympathy, which probably makes this one of the first Westerns to get beyond a one dimensional view of them. There are a variety of interesting subplots which flesh out the major characters and keep things twisting, turning, and moving along between the combat scenes. In fact, almost every one of the characters is angry about something, creating lots of tension between them. James Garner's character is looking for the men who raped and killed his (Indian) wife, Dennis Weaver's Will Grange is angry about almost everything, including that his wife was held captive by the Indians, Sidney Poitier's Toller (now a civilian) is mad that circumstances forced him to accompany the cavalry on this mission ....

Garner and Poitier give excellent performances and the other actors rise to the occasion, helping us forget that they are, in fact, Scottish or Danish.

At the end of the movie the various subplots are tied up and the issues are resolved with (in one case) a very surprising twist.

On top of that, you have a wonderful (almost superb, for this movie) Neal Hefti score, which always seems to correctly reflect the mood of the scene. It fits the movie even better because it makes heavy use of Western/military instruments: guitars, horns, drums, ....

Finally, the Ugly. There are some fairly graphic scenes here (although not exactly like in the Wild Bunch or Saving Private Ryan). The Apaches could torture with the best of them and some of that appears in this movie, although we're spared the close-ups.

All in all, I must say that this is one of my long time favorites. I hope you enjoy it as much as I do!!

What makes this film interesting albeit unconventional are various themes that swirl beneath the main story line. Made at the time when the Civil Rights movement was in full swing, the film subtly touches on issues that were important during the 60s (e.g. racial tolerance, treatment of women and minorities). The film also has a brutal hard edge to it when it comes to the violence, death and the mayhem that takes throughout. The score gives a sense of desperation and inevitability which enhances its hard edge. Unlike many films of the genre, there is no clear cut protagonist or antagonist. The characters are realistic and more than mere two-dimensional cartoon characters for which the viewer could identify with. Overall, it is a thought provoking film that deserves a look in.

Like the other reviewer of this movie, I, too, was a young child when I first saw this movie. It was around 1975 and it made quite an impression on me. My father, Bob Weissman, who loved the music in the film, first played the soundtrack for me. It is hypnotic and stirring -just excellent. The movie's storyline is not intricate, but what it lacks in depth, it makes up for with some suspense, good cinematography and of course, great music. James Garner is charismatic just like he is in "Support Your Local Sheriff" and Sydney Poitier, Dennis Weaver and Bibi Anderson fill their roles adequately. Overall, a good rental for a rainy (or snowy) afternoon or evening.

Lieutenant McAllister and a raw recruit of soldiers have to travel through Apache territory to deliver some much need ammunition to the awaiting Fort Conchos. Scout Jess Remsberg tags along with revenge on mind and horse broker / former trooper Toller who unwillingly receives an order to ride with them to finish off breaking the horses, if he wants the rest of his money. However McAllister and his small party find themselves trying to survive an Apache onslaught led by Chata, as the lady Ellen Grange that Jess rescued from the Apaches has something of importance to the chief.

A competently well-made and satisfying western that's highlighted by the prominent cast and exhilaratingly taut and unsparing action sequences. Ralph Nelson smoothly paces this drum-beating foray, with its adeptly bold and old-fashioned direction. His professional touch lifts the screenplay. Going a long way to giving it a real bravado feel amongst the gritty, dusty and sprawling rocky terrain, which is masterfully framed with a lot of ticker and claustrophobic channelling by cinematography Charles F. Wheeler. The main feature of the film that strikes a chord, has got to be composer Neal Hefti's effectively novel, melodic score that seems to match and illustrate the sequences and overall feel rather well, despite the uncanny tone for this type of film. I found the dynamic cues to be rather contagious. Albert and Michael M. Grilikhes' open screenplay (which is based on the Marvin Albert's novel, "Apache Rising") is pretty much to the point and a little lacking by simply going through the motions. But even with those vague moments, it still thrives on well-rounded dialogues from its sturdy script. In there are configurations of racism, and the unfair treatment of the Indians, but it's the personal confrontations and torment that makes for one gruelling exercise. It never lets any of this get carried away, but the starkly harsh nature stays throughout. The performances are richly devised, to stew up depth and realism due more to their favourable acting than in the way of the material. James Garner's winningly focused performance as rugged, seldom Jess is first-rate. Sidney Poitier classy turn as Toller is a different stroke and admirably good one. Bill Travers' growing performance is very strong and humane. Dennis Weaver eclectically solid. Bibi Andersson was mildly okay, but was hindered and the modest John Hoyt didn't see enough time as Chata.

Dated, but a well handled, compelling and tough as nails western, which finally shines through.

I first saw this movie as a small child on television, and twenty-two years later I finally got the guts to rent it last week to revisit it, and to see why I was so interested in it then. I recalled the exciting cavalry charges etc. and I even remembered the opening refrain of the strange musical score. I really enjoyed this movie unlike most of my childhood favorites. While the movie itself is alot like a John Ford Cavalry opera, it plays out alot differently. This one has more in common with the modern action movie, I think, than with most B-westerns of the 1960's. The fast pace of the movie, unearthly fates of the dead, anti-heroism of the protagonist (James Garner), and well done scenes of horse-borne combat combine to create a Western-Adventure-Morality Play that I certainly recommend. There are multiple forces at play here. Among them the bizarre, scorched desert scenery, Garner's quest for revenge for his dead Indian wife while pining over the married woman disgraced by her captivity with the Apaches, The underlying loyalty of Poitier's former soldier character to his former comrades (despite his overtly self-serving statements) contrasted with the underlying self-promoting purposes of Bill Traver's role as military commander. Too, I see shades of this one in 1993's Geronimo by Walter Hill (burning vistas, Apaches hidden in the ground, Garner's Remsberg character in Duval's Al Seiber etc.) The musical score is off-beat for standard western fare, but who needs more drum beats, flutes, and rattles?! I think the score compliments the movie well, and is perhaps the best indicator that this production thinks outside of the box, even if it remains within it subjectively. This may not qualify as a classic, but I definitely think its a great action flick, and a breath of western fresh air with intriguing insights into race, warfare, culture, and the winning of the west.