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Rio Grande (1950 film)

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Rio Grande
Theatrical poster
Directed byJohn Ford
Screenplay byJames Kevin McGuinness
Based onMission With No Record
1947 story Saturday Evening Post
by James Warner Bellah
Produced byUncredited:
Merian C. Cooper
John Ford
Starring
CinematographyBert Glennon
Edited byJack Murray
Music byVictor Young
Production
companies
Distributed byRepublic Pictures
Release date
  • November 15, 1950 (1950-11-15)
Running time
105 minutes
CountryUnited States
LanguageEnglish
Budget$1,214,899[1][2]
Box office$2.25 million (US rentals)[3]
John Wayne and Maureen O'Hara
John Wayne, Maureen O'Hara and Victor McLaglen
Maureen O'Hara and Claude Jarman Jr.

Rio Grande is a 1950 American romantic Western film[4][5] directed by John Ford and starring John Wayne and Maureen O'Hara. It is the third installment of Ford's "Cavalry Trilogy", following two RKO Pictures releases: Fort Apache (1948) and She Wore a Yellow Ribbon (1949).[6] Wayne plays the lead in all three films, as Captain Kirby York in Fort Apache, then as Captain Nathan Brittles in She Wore a Yellow Ribbon, and finally as a promoted Lieutenant Colonel Kirby Yorke in Rio Grande.[a] Rio Grande's supporting cast features Ben Johnson, Claude Jarman Jr., Harry Carey Jr., Chill Wills, J. Carrol Naish, Victor McLaglen, Grant Withers, the Western singing group the Sons of the Pioneers and Stan Jones.

Plot

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In the summer of 1879, Lieutenant Colonel Kirby Yorke (Wayne) is posted on the Texas frontier with the 2nd U.S. Cavalry Regiment to defend settlers against attacks by marauding Apaches. Yorke has just captured the Apache's leader. Apaches have been using Mexico as a sanctuary from pursuit, and the regiment is suffering from a serious shortage of troops under Yorke's command.

Yorke has been estranged from his wife and son for 15 years, after he set fire to his wife's plantation under orders from his commander during the Civil War. Yorke's son, Trooper Jefferson Yorke (Claude Jarman Jr.), is one of 18 recruits sent to the regiment. After failing mathematics and flunking out of West Point, he immediately enlisted as a private in the Army. In a meeting with his father, Yorke informs him that he will receive no special treatment in the brutal way of life he has chosen; Jeff declares he wants none. Through his willingness to undergo any test or trial, Jefferson befriends Travis Tyree (Ben Johnson) (who is on the run from the law) and Daniel "Sandy" Boone (Harry Carey Jr.). Yorke's estranged wife, Kathleen (Maureen O'Hara), arrives unexpectedly to buy the underage Jefferson out of his enlistment. In a showdown with his mother, Jeff refuses her attempt to buy him out of the Army. The struggle over their son's future rekindles the romance the couple once felt for each other.

The Apaches attack the fort one night. Many of them are killed by the awakened troopers, but they succeed in freeing their leader. When Yorke's patrol reaches the Rio Grande, too late to capture the Apaches he was following, he meets a Mexican patrol. They exchange cordialities and both confirm that the US troops cannot cross into Mexico. Yorke is visited by his former Civil War commander, Philip Sheridan (J. Carrol Naish), now Commanding General of the Military Division of the Missouri, the headquarters responsible for pacifying the Great Plains. Sheridan has decided to order Yorke to cross the Rio Grande into Mexico in pursuit of the Apaches and kill them all, an action with serious political implications, since it violates the sovereignty of another nation. Sheridan, promises that if Yorke faces court-marshalling, will ensure that the members of the court are his fellow soldiers from the Civil War. Yorke accepts the assignment.

Before Yorke leads his men toward Mexico, he sends the women and children to Ft. Bliss for safety, with an escort including Jefferson. Jefferson and Boone meet Tyree, who is hiding from the law. Tyree informs them that there are Apaches in the area. The Apaches attack the wagons and capture the one carrying the children and corporal Bell's wife. While the remaining escort fends off the Apache, Jefferson returns to the fort for reinforcements. Tyree saves him from an Apache attack on the way back.

The regiment meets the survivors of the escort and follows the Apache. They discover the burnt-out wagon and the body of corporal Bell's dead wife, but there is no sign of the children. In the meantime, Tyree rejoins the regiment and tells them he trailed the Apaches to their hideout in Mexico. Working with Tyree, Yorke permits three troopers, Tyree, Boone, and Jefferson, to infiltrate where the Apaches have taken the children. Then Yorke leads his regiment in an all-out attack. The cavalrymen rescue all of the children unharmed, though Colonel Yorke is wounded by an arrow that he orders Jeff to remove. He is taken back to the fort by his victorious troops, where Kathleen meets him and holds his hand as he is carried on a travois into the post.

After Colonel Yorke recovers, Tyree, Boone, Jeff, Navajo Scout Son of Many Mules, and Corporal Bell are decorated. At the ceremony, when one of the Texas marshals reappears, Trooper Tyree is given a furlough to continue his run from the law, stealing General Sheridan's horse for the purpose. As the troops pass in review, the regimental band plays Dixie at the General's request, apparently to please Mrs. Yorke.

Cast

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John Wayne, Maureen O'Hara and Claude Jarman Jr. in Rio Grande

Production

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Background

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With the completion of Wagon Master, Ford did not want to make another Western. Instead, he wanted to film the Ireland-set romantic comedy-drama film The Quiet Man with Wayne and Maureen O'Hara, but Herbert Yates, the studio president of Republic Pictures, insisted that Ford first make Rio Grande with the same pairing of Wayne and O'Hara because he thought the script of The Quiet Man was weak and that the story was of little general interest. Yates insisted that Rio Grande be made before The Quiet Man, to offset the anticipated losses on that film.[8][2] When The Quiet Man was eventually released in 1952, though, it vastly out performed Rio Grande by grossing $3.8 million in its first year and giving Yates and Republic Pictures one of the top-10 hits of the year.[9]

Writing

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The script for Rio Grande was written by Irish-born screenwriter James Kevin McGuinness. It is based on a short story "Mission With No Record" by James Warner Bellah that appeared in The Saturday Evening Post on September 27, 1947.[10] McGuinness based his story on a specific raid by the 4th Cavalry Regiment (United States) in May 1873. Colonel Ranald Mackenzie, under orders from General Phil Sheridan, crossed the border to fight Kickapoo people, and kidnapped some of their women and children to hold as hostages. This was illegal, and the Mexican government protested.[11][12] McGuinness made several changes to the original story on Ford's request. He made the main character more sympathetic and less ruthless. There are also differences between the film and the historical events. In the film, Apache kidnap white American women and children, but in the historical event, members of the 4th Cavalry regiment kidnapped Kickapoo women and children. In the film, the Mexican officer seems relieved that Yorke helped to kill Native Americans; in the historical event, the Mexican government protested the raid as a violation of their international border.[13]

During filming, the film was called Rio Bravo and then Rio Grande Command until right before release.[14]

Casting

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Skilled stuntman and rodeo star Ben Johnson played his third credited role in Rio Grande. The stunt where he rides two horses "Roman style", standing on the backs of two separate horses, took three weeks to master.[15]

Rio Grande was the first of three films directed by Ford starring the pairing of John Wayne and Maureen O'Hara, followed by The Quiet Man in 1952[16] and The Wings of Eagles in 1957. Wayne and O'Hara also starred together in McLintock! (1963) and Big Jake (1971).

Filming

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The film was shot entirely on location in Moab, Utah, during the extremely hot summer of 1950. Cast and crew struggled with the heat. Sets and stages had to be built in the difficult conditions, while actors were required to perform their scenes in heavy period costumes.[18][better source needed]

The location shoot, which Harry Carey described as a "vacation" picture, was shot in just 32 days. O'Hara recalled that Ford insulted and belittled Wayne frequently on set.[14][19]

Music

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The film contains folk songs led by the Sons of the Pioneers, one of whom is Ken Curtis (Ford's son-in-law).[20][21] A reviewer in The New York Times wrote that the music was "mighty pleasant".[22]

Reception

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A review by New York Times described it as a "familiar story" that "travels a well-rutted road" but that "the horsemanship never was better". It was also noted for its similarities to the 1935 epic-adventure film The Lives of a Bengal Lancer. Praise was given, though, for the Western-style ballads sung by the Sons of the Pioneers.[22] A writer going by "Brog" at Variety summarized the film as "big brawling mass action clashes, mixed together with a substantial portion of good, honest sentiment" which predict box office success.[23]

On Rotten Tomatoes the film has a 71% rating based on reviews from 17 critics.[24]

Garry Wills's 1997 book, John Wayne's America, called Rio Grande the "most beautifully filmed" of the Cavalry trilogy. He attributed this to the landscape in Moab, the sensitivity of the cinematographers, and intimate tent scenes that emphasize emotion on actors' faces.[17] In a 2017 book on Wayne and Ford's films and friendship, Nancy Schoenberger conceded that Ford considered Rio Grande a "throwaway" film and that critics consider it the weakest of the Cavalry trilogy. Schoenberger wrote that the film "may be the most beautiful and most compelling" because of its setting.[25]

Themes

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Political and racial

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In a biography of John Wayne, authors Randy Roberts and James S. Olson analyze the success of Rio Grande, again alluding to consensus that it was the weakest film in the cavalry trilogy. They related the film's central conflict of "the frustration of diplomatic niceties and the untenable nature of borders" to the beginning of the Korean War, which involved American soldiers defending against Chinese attackers in North Korea. In the film, the frustration is resolved by attacking Apaches in Mexico. Roberts and Olson wrote that this solution reflected the conservative politics of Bellah and McGuinness, who believed that America's enemies who kill innocent people should be pursued into neutral countries if they take refuge there.[2] In a book on Ford, Wayne, and Ward Bond, Scott Allen Nollen also noticed that Rio Grande's "reactionary attitude toward Apaches as simplistic savages reflecting [...] arch-conservative views of McGuinness.[11] In a biography of John Ford, Joseph McBride saw Rio Grande as an "early-warning allegory of the Korean War" that expressed Ford's "anti-Communist feelings".[14]

The depiction of Native Americans in Rio Grande was very negative. Frank Nugent had previously written scripts for Ford's westerns, and his treatment of Native Americans was sympathetic. McGuinness, in contrast, was not. Joseph Breen, acting under the Production Code Administration said the script was "blatantly racist" and asked the producers to cut some of the more egregious lines, which they did. While the description of the Apache as "a scourge" was purged, the violent actions of the Apache remained in the film.[14]

Masculinity and family relationships

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Rio Grande, while a western, involves family drama, which is unusual in a genre associated with male friendship and mobility. Russell Meeuf, a journalism professor at the University of Idaho, wrote on 1950s masculinity in the Cavalry trilogy.[26][27] McBride called it Ford's first "mature love story," where the "emotionally complex family drama [...] elevat[es] Rio Grande above its crudely racist and stridently jingoistic military plot." For Classical Hollywood film scholars Gaylyn Studlar and Matthew Bernstein,[28] the emotional theme for both Kathleen and Yorke is that they "must confront and resolve the tension between the demands of duty and the love of family." Ultimately, to survive on the frontier, a man needs not just endurance, but also "the comfort of family."[29]

McBride saw Ford's sensitive treatment of Jeff as a possible sign of "self-recrimination over his coldhearted treatment of Pat" (Ford's own son). The ending of the film shows Kathleen performing household chores and waiting with the other wives to show that she is returning to stay with Yorke, which McBride calls "emotionally compelling despite its (qualified) sexism."[14] When Yorke returns, injured on a stretcher, Kathleen publicly walks alongside him, holding his hand, making her decision to stay with him one that includes the entire fort community, where women share in suffering while their husbands fight.[30] While the Kathleen's role is limited, she still represents a greater feminine presence than in many other westerns, such as those by Howard Hawks, Anthony Mann, or John Sturges.[31]

Rio Grande's western family drama shows, for Meeuf, "the dynamic tensions of the balance between masculine adventurism and a settled domestic existence".[27] Schoenberger noticed that the relationship between Yorke and his abandoned son Jeff was characterized by on-screen pain. Yorke allows a fistfight between Jeff and a stronger man to continue so Jeff can try to prove himself. Jeff loses the fight. Later, when Yorke is shot by an Apache arrow, he asks Jeff to take it out, "a feat that takes physical strength and an unflinching ability to inflict pain on a loved one in order to save his life."[32]

Class

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Meeuf also looks at the treatment of class in the Cavalry trilogy. Kathleen initially wants to take her son back home with her so that he can be tutored in mathematics (the subject he failed) and return to West Point, where he can get a commission as an officer. This represents her expectations for her son as an upper-class woman. Yorke calls this attitude "special privilege for special born," and he prefers that their son Jeff work his way up from an enlisted officer by proving himself as a man and soldier. Kathleen yields to his preference, although for Meeuf, this "borders on the far-fetched." Still, the rejection of class privilege for the adventure of life in the West is a common theme in Ford's work.[33] For Wills, Kathleen represented lingering unrest from the Civil War, whose resentment faded as she saw the man who ordered her family home to be burned during the Civil War take part in the fort's society. Tyree, also a southerner, demonstrated collaboration with northerners.[34]

Accolades

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The film was recognized by the American Film Institute in 2008: AFI's 10 Top 10: Nominated Western film. It was one of 50 films nominated for the top 10 best Westerns.[35]

See also

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References

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  1. ^ Flynn, Charles; McCarthy, Todd (1975). "The Economic Imperative: Why Was the B Movie Necessary?". In Flynn, Charles; McCarthy, Todd (eds.). Kings of the Bs: working within the Hollywood system: an anthology of film history and criticism. E. P. Dutton. p. 30.
  2. ^ a b c Roberts, Randy; Olson, James S. (1995). John Wayne: American. The Free Press. pp. 322–324. ISBN 0029238374.
  3. ^ 'The Top Box Office Hits of 1950', Variety, January 3, 1951
  4. ^ Variety film review; November 8, 1950, page 6.
  5. ^ Harrison's Reports film review; November 4, 1950, page 176.
  6. ^ Wetta and Novelli 2006, p. 299.
  7. ^ Wetta and Novelli 2006, p. 315.
  8. ^ The Quiet Man 60th Anniversary Edition, Special Features: Maltin, Leonard, "The Making of The Quiet Man", 1992; Schoenberger 2017, p. 90
  9. ^ Gallagher, Tag (1986). John Ford: The Man and his Films. University of California Press. p. 499. ISBN 9780520050976.
  10. ^ Wetta and Novelli 2006, pp. 307, 317.
  11. ^ a b Nollen 2013, p. 211.
  12. ^ Wills 1997, p. 188.
  13. ^ Wills 1997, pp. 183 185, 187–188.
  14. ^ a b c d e McBride, Joseph (2011). Searching for John Ford. Jackson: University Press of Mississippi. pp. 502–505. ISBN 9781604734683.
  15. ^ Schoenberger 2017, p. 96.
  16. ^ Schoenberger 2017, p. 90.
  17. ^ a b c Wills 1997, p. 186.
  18. ^ "John Ford's RIO GRANDE (1950)". www.aurorasginjoint.com. July 12, 2014.
  19. ^ Nollen 2013, pp. 212–213.
  20. ^ Schoenberger 2017, p. 100.
  21. ^ Scott Eyman John Wayne: The Life and Legend 2015 -1439199590 Page 197: "Yates insisted that the Sons of the Pioneers appear in Rio Grande, which Ford found appalling, but he found a way to work them in as a sort of musical Greek chorus, cavalry style".
  22. ^ a b "THE SCREEN IN REVIEW; 'Rio Grande', a John Ford Film Starring John Wayne, Makes Its Bow at the Mayfair". New York Times. November 20, 1950.
  23. ^ "Rio Grande". Variety. November 8, 1950. p. 6; 18.
  24. ^ "Rio Grande". Rotten Tomatoes. Retrieved March 18, 2022.
  25. ^ Schoenberger 2017, pp. 94–95.
  26. ^ "Russell Meeuf: Professor". www.uidaho.edu. University of Idaho. Retrieved November 7, 2024.
  27. ^ a b Meeuf 2013, p. 68.
  28. ^ "Matthew H. Bernstein". filmandmedia.emory.edu. Emory College of Arts and Sciences.; "Gaylyn Studlar". Program in Film and Media Studies. Washington University in St. Louis. May 4, 2017.
  29. ^ Studlar and Bernstein 2001, pp. 64–65.
  30. ^ Meeuf 2013, p. 61.
  31. ^ Meeuf 2013, pp. 59.
  32. ^ Schoenberger 2017, pp. 100–101.
  33. ^ Meeuf 2013, pp. 53–54.
  34. ^ Wills 1997, p. 188-189.
  35. ^ "AFI's 10 Top 10 Nominees" (PDF). Archived from the original on July 16, 2011. Retrieved August 19, 2016.{{cite web}}: CS1 maint: bot: original URL status unknown (link)

Works Cited

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  • Nollen, Scott Allen (2013). Three Bad Men: John Ford, John Wayne, Ward Bond. McFarland. p. 211. ISBN 9780786458547.
  • Meeuf, Russell (2013). John Wayne's World: Transnational masculinity in the fifties. University of Texas Press. ISBN 9780292747470.
  • Schoenberger, Nancy (2017). Wayne and Ford: The Films, Friendship, and the Forging of an American Hero. Doubleday. ISBN 9780385534857.
  • Studlar, Gaylyn; Bernstein, Matthew (2001). John Ford made westerns: filming the legend in the sound era. Bloomington: Indiana University Press. ISBN 0253337984.
  • Wetta, Frank J.; Novelli, Martin A. (June 2006). "'Romantic, isn't it, Miss Dandridge?': Sources and Meanings of John Ford's Cavalry Trilogy". American Nineteenth Century History. 7 (2).
  • Wills, Garry (1997). John Wayne's America: the politics of celebrity. New York: Simon & Schuster. ISBN 0684808234.

Notes

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  1. ^ scripts and production billing spell the York[e] character's surname differently in Fort Apache and Rio Grande[7]
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