Strong and Moving!

Absolutely Fantastic

It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

A story that's too fascinating to pass by...

This is essentially the story of 3 men: Captain George(Lloyd Bridges), Chief Little Wolf(Vince Edwards), and Tate(Roy Calhoun). Captain George, a cavalry officer with seemingly only a handful of men to command, charged with keeping the peace in this frontier area, actually foments trouble by ordering the killing of Cheyenne Chief Yellow Wolf when he came to town asking for essential supplies to survive the coming winter. The chief didn't understand that Cpt. George had no authority to issue such supplies, since they were not on a reservation. Yellow Wolf had favored peaceful coexistence with the white settlers, whereas his son, Little Wolf, who succeeded him, talked of stealing the needed supplies from the army depot, and against going to the reservation in Oklahoma, which Cpt. George had received orders to facilitate. An additional reason for wanting the Cheyenne gone was that Yellow Wolf had brought a sample of gold-bearing rock from near the Cheyenne camp to show to Cpt. George, hoping to use it as a bargaining chip. Opposing the goals of both Cpt. George(and the army) and Little Wolf was ex-Indian fighter, Sheriff Tate. He wants peace and the status quo returned. But, the town's people interpret his stance as pro-Cheyenne. Many of them, including Tate. have lost loved ones to Indian murder, hence are not willing to tolerate Tate's position. Also, they know his girlfriend is the sister of Little Wolf, which they believe colors his stance. Thus, a town council recommends that they find a new sheriff. Even the death of his adopted son at the hands of the Cheyenne doesn't dissuade him from the relatively pro Cheyenne stance. At this point, Cpt. George wants both Tate and Little Wolf dead. Tate feels he must kill Little Wolf to prevent an attack on the town. Yet, when he has a chance to shoot him, he cannot. Pretty Willow(Joanne Gilbert)arranges for Tate to meet Little Wolf, out between the town and village. Somehow, Cpt. George receives this information, so plots to kill the two together, if they haven't already killed each other. Tate and Little Wolf knife fight each other, eventually falling into a lake. At this point, Cpt. George arrives, and shoots into the water, apparently killing Tate, while Little Wolf comes to shore. I will stop here, and let you find out the conclusion by seeing the film.Tate, if he lives, has the choice of 2 beautiful women, who are in love with him. One is European: Amy(Gloria Grahame), his landlady, who is very anti-Cheyenne, since they killed her husband and she sees them as greatly inferior culturally. The other is Pretty Willow, whom he favors. I think this union symbolizes a take-home message that interracial marriages should be considered OK, even if they often impose extra burdens and incompatibilities on the couple. However, personally, I think I would have chosen Amy, Tate's age mate, who easily expressed her emotions. In contrast, the much younger Pretty Willow seldom expressed her emotions by her face or words. Even the death of her father, brother, and apparently Tate didn't excite any crying, wailing, etc.. She just clamed up.I found several historical curiosities that relate to this film. The white town was given the fictional name of Sand Creek. Well, the infamous massacre of Cheyenne(mostly women and children) camped at Sand Creek, Colorado, created a stir among bipartisan whites, in it's day. Little Wolf was the name of a northern Cheyenne chief, who famously led a group of Cheyenne from the Oklahoma reservation to Montana, despite harassment by the army(see "Cheyenne Autumn") However, Yellow Wolf was the name of a Comanche, not Cheyenne, chief.See it at You Tube.

Saddled with a ridiculously corny and over-talkative screenplay in which all the clichés of white men versus Indians are trotted out, plus the spectacle of Vince Edwards of all people playing the Indian chief's son, while the co-star of reasonably competent hero Rory Calhoun, namely Gloria Grahame, listlessly walks through a trite and entirely superfluous role, this is a movie to avoid. The director is a gent named Bernard Girard who worked mostly as a writer and director in TV. He just loves filling the screen with repetitive close-ups. In fact, the movie would be much more interesting if shorn of at least twenty minutes of this utterly boring material. On the other hand, most of the action footage is staged with reasonable competence and the use of some mildly attractive natural locations is at least a step in the right direction. Also on the plus side, Joanne Gilbert certainly lives up to her "Pretty Willow" name, while Frank DeKova manages to make his Indian chief reasonably credible. Lloyd Bridges, alas, has large slices of the script's verbosity to contend against, but at least he puts up a good fight.

Ride Out for Revenge is directed by Bernard Girard and written by Norman Retchin. It stars Rory Calhoun, Gloria Grahame, Lloyd Bridges, Joanne Gilbert, Frank DeKova and Vince Edwards. Music is by Leith Stevens and cinematography by Floyd Crosby.A black and white Civil Rights Oater, Ride Out for Revenge has good intentions and no little amount of dramatic worth. Not everything works, as it's certainly portrayed in simplistic terms, but the anti-racist core of the story is worthy of viewing investment.We are in the town of Sand Creek and the inhabitants are all bitter victims to the Indian Wars. One man stands alone in Sand Creek, Tate (Calhoun), a one time superlative Indian Fighter who now finds himself in love with a Cheyenne woman and firmly of the liberal mind that war has no favourite side: Misery is equal regardless of race, creed and colour. But can Tate avert an impending massacre that is brewing because of bile strewn hatred? Sand Creek is the base for Capt. George (Bridges), a cowardly drunkard who just wants the Cheyenne out of the Black Hills and down to some army governed reservation. But when cold blooded murder rears its ugly head, and tragedy strikes on both sides of the fence, Sand Creek approaches its day of reckoning.The Wages of Sin, eh Captain?There's no great production value on offer but the film still looks splendid thanks to Crosby's (High Noon) photography. Thematically it's a formula that even by 1957 was hardly original, but the under valued Calhoun oozes enough stoic machismo and emotional conflict to really engage those interested in the Civil Rights side of this period in history. Though the fact that he is lusted after by the twin beauties that are Gloria Grahame and Joanne Gilbert marks him out as one lucky dude!Maybe you's like to know what a savage girl does when her savage father's murdered? She cries. She cries just as hard as you did when John was killed.Is it preachy? No, it isn't. It's a viable narrative doing the best it can on a "B" budget. It should be noted that it very much beats the drum for both sides, it makes sure we know that all parties are scarred by the horrors of this distasteful war. OK! So it wont give the superior Devil's Doorway a run for its money, or even be fit enough to tie the boots of Broken Arrow, but it shouldn't be readily dismissed as weak "B" movie fodder. Besides, it has enough character interest and an extended knife fight by the river to make it at the very least a time waster for the Western faithful. 6.5/10

You might be tempted to watch this movie when you see that Gloria Graham is the female lead and that Lloyd Bridges costars. Don't make that mistake.This thing looks like a high school play. It's a "civil rights" Western, where the Indians are a metaphor for blacks in the South.OK message, but there is no art to this movie. Graham's part is nothing. Bridges has just a little more to work with, playing a sleazy, cowardly cavalry captain.This is a good opportunity though to categorize three types of Westerns:The "Cold War" Western, where the cowboys represent freedom and individuality, while the Indians are a foreign menace trying to take their freedom away. All that stands between freedom and destruction is the bravery of the U.S. cavalry.The "Civil Rights" Western, where the whites are the bad guys oppressing a racial minority.The "Vietnam" western, where the oppression of the Indians becomes a much wider metaphor for global Western imperialism and colonization.