Excellent Ford, driven by one of Fonda's career defining performances. I feel I enjoyed She Wore A Yellow Ribbon better, but this is a great film, and probably the one to start with when going through the "calvary trilogy". Temple is ok, but doesnt seem to have the same zest as usual, probably explains why she quit films not long after to focus on politics. Cant blame her. A grizzled veteran at this point. 4.5 stars
Pretty good film. Refreshing to see the Indian nation get treated with a little respect by the director (if not by Fonda's character, Lt. Owen Thursday). The casting was good. Wayne, Temple and Fonda were a good combination. Just the right touches of humor, drama, romanticism and action.
Funny recollection: I watched the movie in the theatre, at a special Ford retrospective. There was this terrible guy a row behind me, laughing hysterically and commenting the scenes out loud. It took me a while to realize it was film director Abel Ferrara being, well... being himself. (Ferrara was at the time in Vienna to present his "Pasolini" at the film festival - november 2014).
One of Ford's best. Following Stagecoach, the combination of various cultures and classes being forced to work together brings out fascinating characters and helps expose democracy's ironies and the hypocrisy of law, becoming an interesting precursor to The Man Who Shot Liberty Valance - "When the legend becomes fact, print the legend".
Damn, Ford is good. Few directors could conjure images with such immediate impact, but he's also interested in a sense of community and melancholy that today's Hollywood stylists miss. I remain deeply ambivalent about his pre-modern, quasi-Confederate nostalgia—America has too much of it. But the politics here are complex: a precursor to Liberty Valance, but even more effective in light of WWII. I keep coming back.
Altro grandioso film di John Ford,che in questa pellicola punta un pò di più sulla verbosità e sugli scontri d'opinione tra i vari protagonisti(Henry Fonda è monumentale),mentre l'azione è regalata quasi tutta nel drammatico epilogo.Forse qualche scena morta di troppo(i balletti e le schermaglie d'amore),ma tutto concorre a creare uno stupendo clima di prateria e di "frontiera",come nei migliori lavori di Zio John.
Ford renders Col. Thursday's internalized conflict through passive and dull dance. The balance of duty-to-process with uncontrolled passions of family are formally married in a manner that is overly-forced and un-human as the Thursdays and O'Rourkes march hand-in-hand without giving in to emotions. The march thus parallels the uncontrolled Apaches, poetically depicting Thursday's error: refusal of the 'human.'
A bit uneven compared to some of Ford's other films, Fort Apache gets off to a slow start, but once it kicks into gear it's great. Fort Apache has all the trappings of a great epic western and tragedy; there are the larger than life characters, great cinematography (the scene where York meets Coache for the first time is beautiful), and some great action. Don't miss this one.
Far from the best Ford, "Fort Apache" is a beautiful, tragic film that laughs at History as we understand it. It's also the best film from his "Cavalry Trilogy" ("Rio Grande" being the worst), and the most different one: "She Wore a Yellow Ribbon" and "Rio Grande" are romanticized films about life in the army, duty, family and tradition. "Fort Apache" is all about that too - but how it can all fail so quickly.